University  of  California  •  Berkeley 

From  the  Library  of 
FREDERICK  FOLGER  THOMAS 


. 

0 


F.   A.   RINGLER   CO.,   ENQ. 


THE 

PRACTICAL 

PRINTER: 

A  BOOK  OF  INSTRUCTION  FOR  BEGINNERS; 

A  BOOK  OF  REFERENCE  FOR  THE  MORE  ADVANCED. 


By    HENRY    G.    BISHOP. 


<  M.N  I  \1MN<; 

INFORMATION   ON   ALL  THK  VARIOUS  1'AKTS  OF  THE 
PRINTING  BUSINESS. 

UTI  n 
I>IA(,I<AMS  OF  IMPOSITION  AND  USEFUL  TABI 


THIRD    EDITION.          PRICE,   $1,00. 


I  [SHOP,  PUB1  ISH1  R,  "NKONTA,  N.  Y. 

HFOUNDHKS. 


NOTE  TO  THIRD  EDITION. 


The  author  of  this  work  is  gratified  to  find  another 
edition  made  necessary  but  must  apologize  to  those 
who  have  been  kept  waiting  for  the  same  owing  to 
many  unavoidable  causes.  An  entirely  new  chapter 
on  proof  reading  has  been  added  in  response  to  many 
requests.  That  this  edition  may  meet  with  the  same 
success  as  its  predecessors  is  the  earnest  wish  of 
the  author. 


PREFACE  TO  FIRST  EDITION. 


T)  ATHER  more  than  a  year  ago,  it  was  suggested  to 
the  author  that  there  was  room  for  a  work,  which 
would  treat  fully  of  the  various  phases  of  the  printing 
business  from  a  practical  point  of  view,  written  by 
someone  who  had  passed  through  the  necessary  ex- 
perience. After  consulting  with  his  friend,  ANDREW  C. 
CAMERON,  the  able  and  respected  editor  of  The  Inland 
Printer,  the  author  undertook  to  write  such  a  work, 
and  now  presents  it  to  the  printing  fraternity  with  the 
hope  that  it  may  be  found  useful  to  the  younger 
members  of  the  craft,  and  not  altogether  without 
interest  to  those  who  are  older. 

For  many  years  the  author  has  contributed  to  the 
pages  of  the  printing  trade  journals  both  in  the  United 
States  and  in  England,  and  has  published  several  works 
bearing  upon  subjects  of  practical  interest  to  printers. 
He  served  a  seven  years'  apprenticeship  to  the  business 
in  an  establishment  where  each  branch  was  taught  by 
those  who  had  a  practical  knowledge  of  what  they 
taught.  Since  that  time  he  has  graduated  and  passed 
through  ail  the  various  departments,  and  has,  during 


PREFACE  TO   FIRST   EDITION. 

those  many  years,  sought  to  learn  all  he  could  learn  of 
the  business  in  which  his  father  and  grandfather  had 
spent  their  lives. 

The  one  principal  object  that  has  been  kept  in 
view  throughout  this  work  is  the  presenting  of  prac- 
tical instruction  in  the  order  in  which  it  will  be  most 
useful  and  most  likely  to  be  retained  in  the  memory. 

The  author  makes  no  pretense  to  literary  ability, 
but  claims  for  his  book  the  support  of  every  printer  in 
the  land,  on  the  ground  of  an  earnest  desire  to  impart 
to  others  the  knowledge  which  he  has  acquired  during 
a  busy  life  as  a  "  practical  printer. " 


NOTE  BY  A.  C.  CAMERON. 


'T^HE  necessity  for  such  a  book  of  reference  as  "  THE 
PRACTICAL  PRINTER,"  simple,  concise,  explanatory, 
instructive  and  reliable — a  veritable  multum  in  parvo — 
has  long  been  recognized  among  the  craft.  The  informa- 
tion embodied  therein  will  be  found  invaluable  to  the 
intelligent,  ambitions  learner,  a  helpmate  to  the  journey- 
man, and  a  material  aid  to  the  employer,  referring,  as  it 
does,  to  various  features  and  branches  of  the  business  of 
immediate  interest  to  each.  Its  author,  Mr.  H.  G.  Bishop, 
is  a  gentleman  long  and  favorably  known  to  the  readers 
of  The  Inland  Printer  as  a  contributor  to  its  columns, 
and  is  eminently  qualified,  by  virtue  of  his  ability  as  a 
writer  and  varied  experience  as  a  practical  printer  of 
many  years  standing,  to  successfully  accomplish  the  task 
he  has  undertaken.  The  information  contained  therein 
is  worth  many  times  the  price  charged  for  the  work,  and 
if  its  sale  is  commensurate  with  its  merits  its  success  is 
assured.  I  have  much  pleasure  in  recommending  it  to 
the  printers  of  the  United  States. 

A.   C.  CAMERON. 
CHICAGO,  April  i,  1889. 


CONTENTS. 

PAGE 

ACKNOWLEDGMENTS iii 

DEDICATION v 

PREFACE vii 

NOTE  BY  A.  C.  CAMERON xi 

INTRODUCTORY 1-6 

The  great  need  among  printers — a  more  thorough  knowl- 
edge of  their  business — the  rudiments,  or  A  B  C — theory 
as  well  as  practice — importance  of  beginning  at  the  begin- 
ning— the  need  of  a  knowledge  of  more  than  one  branch. 
COMPOSING  DEPARTMENT 7-90 

Reading  and  Spelling — peculiarities  of  the  English  language 
— reading  bad  manuscript — fac-simile  of  a  piece  of  bad 
copy — studying  an  author's  style  of  writing 7-I4 

Punctuation  and  Capitalization — great  diversity  of  opinions 
— examples  of  the  use  of  punctuation  marks — examples 
of  the  use  of  capitals I5~23 

Names  of  Types  and  their  Relative  Sizes — Brilliant  to 
Canon — Roman  and  Italic — old  style  and  modern — the 
point  system — tables  of  comparison 24-31 

Peculiar  Signs  used  in  Printing — commercial  signs — ac- 
cents— references — algebraical  —  astronomical  —  medical 
— superiors  and  inferiors — fractions — Roman  numerals 
— typographical 32-38 

Terms  used  in  the  Composing  Room 39~46 

Composition — [earning  the  boxes — distribution — position  of 
the  body — justification — even  spacing — divisions — clean 
proofs — correcting — fac-simile  of  "dirty"  proof — job 
work — table  work — making  up 47-64 


xii  CONTENTS. 

PAGE 

Imposing — diagrams  showing  position  of   pages— •  making 

the  margins — locking  up 65-90 

PRESS  DEPARTMENT 91-120 

The  "  devil  " — the  necessary  training — youth  the  time  to 
learn — terms  used  in  the  press  room — making  ready  on 
cylinder  presses— fac-similes  of  "make  ready"  sheets — 
making  ready  on  job  presses — proper  treatment  of  rollers 
— care  of  inks — oil  and  rags — cleanliness. 

STOCK  AND  SHIPPING  DEPARTMENT 121-131 

Fitting  up  the  stock  room — varieties  of  papers — card- 
board— cutting — tables  showing  quantity  of  stock  re- 
quired for  jobs  from  50  to  100,000  copies — table  showing 
number  of  sheets  contained  in  any  number  of  quires — 
table  of  comparative  weights  of  paper. 

BUSINESS  MANAGEMENT 132 

Facts  about  profits — reckless  estimating — capital  in- 
vested— depreciation  of  plant — the  importance  of  adopt- 
ing correct  methods  in  conducting  a  business — dangers  of 
failure — buying  plant  and  materials— cost  of  printing  ink 
— tables  for  calculating  cost  of  stock — the  order  book — 
fac-simile  of  job  ticket  and  daily  time  slip. 

SPECIMENS  OF  COMPOSITION 153 


ILLUSTRATIONS. 

Portrait  of  the  Author Facing  Title  page 

Fac-simile  of  a  piece  of  bad  manuscript II 

of  a  ' '  dirty  proof  " 56 

The  same  matter  corrected 57 

Fac-simile  A,  the  first  impression 103 

B,  the  patched-up  sheet 104 

C,  the  result 105 

of  a  job  ticket 151 

daily  time  slip 152 

Specimens  of  composition 153 

TABLES. 

Table  showing  what  number  of  ems  of  other  sizes  will  corre- 
spond with  pica,  from  10  to  40  ems 29 

Table  showing  the  number  of  lines  of  different  sizes  of  type 

containing  a  thousand  ems,  from  10  to  40  ems  pica  in  width.  30 

Table  showing  the  equivalents  in  depth  of  100  lines,  from 

pica  to  diamond .31 

Table  showing  the  number  of  ems  contained  in  one  square 

inch,  from  pica  to  diamond 31 

Tables  for  giving  out  paper  for  jobs  of  from  50  to  100,000 

copies 125-128 

Table  showing  the  quantity  of  paper  required  to  print  1,000 

copies  of  a  book  in  any  form  from  8vo  to  32mo 129 

Table  showing  the  number  of  sheets  contained  in  any  number 

of  quires  130 

Table  of  comparative  weights  of  paper  (showing  the  equiva- 
lents of  different  sizes) 131 

Tables  showing  cost  of  stock  used  on  small  jobs  (being  a 

printer's  ready  reckoner) x. 141-148 


THE 

PRACTICAL  PRINTER. 


INTRODUCTORY. 

MANY  "histories"  and  "treatises"  have  been  written 
on  the  subject  of  printing,  and  great  credit  is  due  to 
some  recent  writers  for  the  vast  amount  of  information 
which  they  have  supplied.  It  is  well  that  we  should  know 
all  that  can  be  learned  of  the  earliest  growth  and  sub- 
sequent development  of  the  art  of  printing,  which  has 
proved  the  greatest  "  tree  of  knowledge  "  that  the  world 
has  ever  produced.  The  printer  who  takes  any  pride  in 
his  business  naturally  desires  to  be  as  well  posted  in  the 
history  of  the  industry  which  gives  him  his  bread  as  in  the 
history  of  the  country  which  gave  him  birth. 

But  while  all  this  is  true,  and  without  wishing  for  a 
moment  to  depreciate  the  importance  of  such  writings  as 
have  been  referred  to,  there  appears  to  be  a  growing  need 
for  a  concise,  yet  exhaustive  work,  devoted  to  the  practical 
side  of  the  question,  which  will  serve  the  purpose  of  an 
instructor  for  the  learner,  and  a  book  of  reference  for  the 
more  advanced. 

Therefore,  the  writer  has  undertaken  to  supply  such  a 
work,  and  though  he  feels  somewhat  doubtful  of  doing  full 
justice  to  the  subject,  he  nevertheless  ventures  forth, 
encouraged  by  the  thought  that  he  is  engaged  in  a  good 
cause,  and  that  some  measure  of  benefit  to  his  fellow- 
craftsmen  must  be  the  result. 


2  THE    PRACTICAL    PRINTER. 

The  great  lack  of  the  present  day  among  printers  is  a 
knowledge  of  the  rudiments  of  the  business.  A  large 
number  of  men  do  certain  things  which  they  have  seen 
others  do  without  knowing  the  why  or  the  wherefore,  or 
understanding  the  necessity  for  doing  such  things  in  such 
ways,  or  the  advisability  of  varying  their  methods  to  suit 
changed  circumstances  and  contingencies.  In  fact,  they 
learn  to  do  their  work  much  as  a  parrot  learns  to  talk, 
and  know  no  more  of  the  fundamental  principles  of  the 
business  than  it  does  of  the  construction  of  the  English 
language.  Such  men  may  acquire  a  superficial  knowledge 
of  the  printers'  art,  and  may  manage  to  pull  through  in  a 
crowd,  but  they  are  not  and  never  will  be  printers  in  the 
best  sense  of  the  word. 

Now,  what  is  needed  is  a  theoretical  as  well  as  a 
practical  training.  A  great  deal  is  sometimes  made  of 
the  fact  that  a  man  is  a  practical  printer  in  opposition  to 
the  idea  of  his  being  a  theoretical  printer,  as  though  a 
theoretical  knowledge  of  the  business  were  of  no  account. 
This  is  a  great  mistake.  It  is  of  the  utmost  impor- 
tance that  a  man  should  have  a  practical  knowledge  of  his 
business,  but  unless  he  knows  the  theory,  as  well  as  the 
practice,  he  has  no  knowledge  of  it  at  all. 

It  is  impossible  to  lay  too  much  stress  upon  this  part  of 
the  subject,  and,  therefore,  though  some  may  think  enough 
has  been  said,  yet  for  the  sake  of  those  whom  it  is  intended 
to  benefit  the  truth  must  be  reiterated  until  it  has  made  an 
impression  that  will  be  lasting  and  beneficial  in  its  results. 
It  is  impossible  to  learn  to  read  without  first  learning  our 
letters,  and  it  is  also  impossible  to  become  a  printer 
without  first  learning  the  rudiments  or  elementary  lessons. 
Without  learning  the  A,  B,  C  of  the  business  no  accurate 
and  sure  knowledge  of  it  can  be  obtained.  Before  a 


INTRODUCTORY.  3 

builder  puts  up  a  house  he  digs  into  the  earth  and  lays  a 
solid  foundation.  This  digging  and  foundation  laying  has 
to  be  done  before  a  knowledge  of  the  printing  business 
can  be  built  up,  and  the  deeper  we  dig  the  firmer  will 
be  the  foundation,  and  the  more  lasting  will  be  the  super- 
structure. 

It  will  be  necessary  to  treat  the  two  departments,  com- 
position and  presswork,  separately;  and  afterward  several 
other  subjects  will  be  treated  upon,  such  as  machinery, 
power,  ink,  paper,  cutting,  managing,  estimating,  and 
many  other  matters  which  will  be  of  advantage  to  the  man 
who  wants  to  become  master  of  the  business.  A  compositor 
needs  to  know  something  of  the  other  branches  in  order  to 
be  better  qualified  for  his  own  part  of  the  work,  and  this 
is  true  of  the  pressman,  and  also  of  every  man  who  is 
engaged  in  any  one  of  the  various  departments.  The 
compositor  who  knows  something  of  presswork,  will  better 
understand  how  to  put  a  form  to  press,  and  the  pressman 
who  knows  something  of  composition,  will  know  better 
how  to  treat  his  form  when  he  gets  it.  There  is  no  reason 
why  this  should  lead  to  a  man  being  a  jack-of-all- trades, 
for  some  men  take  naturally  to  composition  and  would  not 
be  pressmen,  and  others  take  as  naturally  to  presswork  and 
would  not  be  compositors. 

One  great  difficulty  which  lies  in  the  way  of  men 
trying  to  obtain  this  general  knowledge  of  their  business, 
is  the  fact  that  in  most  offices,  particularly  the  larger  ones, 
a  man  is  engaged  on  only  one  part  of  the  work,  and  some 
other  men  are  engaged  on  the  other  parts,  so  that  very 
little  insight  into  more- than  one  branch  of  the  business 
can  be  obtained.  It  is  the  object  of  the  writer  to 
supply  that  deficiency,  by  going  minutely  into  all  the 
different  parts  of  what  goes  to  make  up  the  general  routine 


4  THE   PRACTICAL    PRINTER. 

of  a  printing  establishment  —  to  follow  the  different  classes 
of  work  from  the  moment  they  are  handed  in  in  the  shape 
of  "copy,"  till  the  time  they  go  out  to  the  customers. 
How  few  workmen  know  anything  about  the  cost  of 
producing  a  job.  or  the  price  to  be  charged  to  the 
customer!  They  work  from  year's  end  to  year's  end 
without  ever  knowing  what  the  public  has  to  pay  for  the 
work  they  are  engaged  upon.  And  it  is  probable  that  the 
customer  knows  more  about  the  cost  of  stock  than  the  man 
who  cuts  it  up,  or  the  men  who  set  the  type  and  do  the 
presswork.  Moreover,  it  often  happens  that  the  manager 
or  proprietor  does  not  know  how  to  give  an  estimate  for  a 
job,  because  he  is  not  familiar  with  the  cost  of  the  different 
parts  of  the  work.  So  he  has  to  consult  the  foreman  of 
the  composing  room  as  to  cost  of  composition,  the  foreman 
of  the  pressroom  for  cost  of  presswork,  the  paper  dealer 
for  cost  of  stock,  the  ruler  for  cost  of  ruling,  the  binder 
for  cost  of  binding,  and  so  on  through  all  the  various 
occasions  of  expense.  And  then  he  calls  himself  a  printer  ! 
Besides  the  ignominy  connected  with  such  a  course,  look 
at  the  loss  of  valuable  time  in  thus  arriving  at  the  proper 
price  to  quote  for  a  job  that  he  may  never  get  ! 

It  may  appear  to  some  that  this  is  taking  too  high 
ground,  and  they  may  be  inclined  to  ask,  "  How  many 
are  there  who  know  all  these  things  ?  "  To  this  question 
we  answer,  that  there  are  hundreds  of  managers  and  pro- 
prietors who  know  them  as  fully  as  they  know  their 
alphabet.  Those  who  do  not  know  may  think  this  is 
incredible,  and  to  such  we  will  quote  Hamlet's  remark  to 
Horatio  :  "  There  are  more  things  in  heaven  and  earth 
than  are  dreamt  of  in  your  philosophy."  But  perhaps 
sufficient  has  been  said  on  this  point  to  impress  the  reader 
with  an  idea  of  its  importance,  and  to  lead  him  to  resolve 


INTRODUCTORY.  5 

that,  very  soon,  he  will  make  himself  master  of  these 
things  as  far  as  he  may  have  opportunity. 

Those  who  desire  to  become  printers,  and  those 
printers  who  desire  to  become  better  acquainted  with  the 
details  of  their  business,  are  invited  to  accompany  the 
writer  through  the  subsequent  pages,  which  will  be 
devoted  exclusively  to  the  unfolding  of  the  various  phases 
of  the  business,  nothing  being  considered  too  trivial  to 
mention,  so  long  as  it  can  be  used  to  promote  the  end  in 
view,  namely :  imparting  a  sound  theoretical  and  practical 
knowledge  of  printing.  No  attempt  at  fine  language  will 
be  made,  but  what  is  said  will  be  stated  in  plain,  simple, 
every-day  phraseology,  so  that  everyone  may  understand 
and  be  benefited. 

It  will  be  necessary  to  go  over  ground  that  many 
readers  may  already  be  familiar  with,  but  that  will  not 
hurt  them,  as  it  is  often  good  to  go  over  again  things  that 
have  been  learned  and  known  for  years,  and  they  will 
have  the  satisfaction  of  knowing  that  others  who  have  not 
traveled  that  way  before  will  derive  benefit,  and,  besides, 
they  themselves  will  have  their  memories  refreshed  and 
may  be  glad  to  be  reminded  of  some  things  which  they 
had  almost  forgotten. 

Carefully  compiled  tables,  diagrams  of  imposition,  and 
many  illustrations  will  be  given  which  will  be  of  value  in 
making  points  clearly  understood,  and  be  of  lasting 
benefit  for  future  reference.  In  fact,  everything  that  can 
be  obtained,  which  is  calculated  to  help  toward  the  main 
end,  will  be  presented.  As  far  as  possible  each  different 
branch  of  the  subject  will  be  treated  separately  and  in 
proper  order,  so  that  each  lesson  may  be  fully  learned 
before  another  is  taken  up,  and  then  that  other  shall  be 
the  one  that  is  most  intimately  connected  with  its  prede- 


0  THE    PRACTICAL    PRINTER. 

cessor.  Thus  the  growth  in  knowledge  of  the  various 
branches  of  the  business  will  be  natural  and  logical.  We 
propose  to  clear  the  ground  as  we  go  along  and  have  no 
turning  back,  but  rather  moving  slowly  and  surely  for- 
ward, gaining  power  of  perception  and  understanding 
at  each  step,  that  when  we  do  reach  the  goal  we  may  be 
able  to  appreciate  and  hold  fast  to  that  which  we  have 
obtained. 


COMPOSING  DEPARTMENT. 


READING  AND   SPELLING. 


THE  person  who  is  about  to  learn  the  printing  business 
will  do  well  to  start  by  learning  how  to  read  and  spell 
correctly ;  and  by  this  is  not  meant  merely  the  ability  to 
read  and  spell  in  the  sense  in  which  these  terms  are 
commonly  used,  for  very  few  boys  reach  the  age  of  four- 
teen or  fifteen  years  without  being  able  to  do  that ;  but 
what  is  meant  is  learning  how  to  read  and  spell  correctly 
everything  that  comes  before  him.  Many  boys,  and  men, 
too,  who  think  they  know  all  this,  positively  know  nothing 
about  it,  or  at  least  only  know  the  most  simple  and  super- 
ficial part  of  it.  Give  them  a  newspaper  paragraph  to  read 
and  they  will  get  along  pretty  well,  providing  there  are  no 
hard  words  in  it ;  but  give  them  the  copy  from  which  the 
compositor  set  up  the  type  for  that  paragraph,  and  it  might 
puzzle  them  to  read  three  words  of  it.  Again,  give  them 
a  whole  column  of  printed  newspaper  matter  to  read  aloud 
and  it  is  more  than  probable  that  instead  of  going  over  it 
easily  and  smoothly  they  would  pause  and  stumble  like  a 
horse  going  over  a  rough  road.  Many  of  the  words  would 
be  wrongly  pronounced,  and  some  of  them  converted 
into  words  that  have  no  place  in  any  dictionary ;  and  as 
to  spelling  every  word  in  the  column,  the  probability  is 
that  in  that  they  would  fare  twice  as  badly.  Let  those 
who  doubt  this  try  it  upon  some  of  the  young  persons  with 

7 


8  THE    PRACTICAL    PRINTER. 

whom  they  are  acquainted.  We  have  tried  it  many  times 
among  different  classes,  and  know  the  truth  of  what  is 
here  stated.  Out  of  twenty-three  applicants  for  position 
as  copyholder  (boys  of  from  thirteen  to  sixteen  years  of 
age),  there  were  only  two  who  could  read  sufficiently  well, 
and  one  of  these  broke  down  in  spelling  all  the  words  in 
a  paragraph  of  an  ordinary  newspaper  leading  article. 

And  any  printer  knows  that  this  is  only  skimming  the 
surface  of  the  subject,  for  if,  instead  of  taking  newspaper 
columns,  we  should  take  the  pages  of  a  carefully-written 
book,  especially  if  it  were  upon  some  scientific  subject,  the 
test  would  be  much  more  severe.  But  a  compositor  who 
is  engaged  on  bookwork  has  to  read  everything  that  comes 
along,  on  every  conceivable  subject,  from  an  inquiry  into 
the  origin  of  species  to  a  disquisition  on  astronomy. 

Now  it  is  far  better  that  the  learner  should  fully  under- 
stand the  difficulties  of  this  part  of  the  subject,  and  give 
up  the  idea  of  learning  the  business  at  all,  than  that  he 
should  start  in  with  his  eyes  shut  and  only  find  out  his 
mistake  by  painful  experience,  either  in  the  loss  of  situa- 
tions or  the  small  amount  of  his  earnings.  But,  at  the 
same  time,  if  he  make  up  his  mind  to  master  the  difficul- 
ties at  the  start,  there  is  no  occasion  to  give  up,  provided 
he  has  the  capacity  of  mind  required  to  grasp  the  necessary 
knowledge.  Let  him  take  the  place  of  a  learner  standing 
at  the  very  foot  of  the  ladder,  and  strive  to  climb  one  step 
at  a  time,  and  the  chances  are  that  he  will  succeed. 

The  first  step,  then,  is  to  learn  to  spell.  This  he  can 
only  do  by  steady  practice  and  perseverance.  The  writer 
can  remember  when,  as  a  boy,  he  used  to  carry  a  pocket 
dictionary  and  learn  to  spell  every  word  in  each  page, 
taking  about  a  page  each  day,  and  writing  down  all  the 
peculiar  and  difficult  words  to  impress  them  upon  his 


READING   AND   SPELLING.  9 

memory.  This  plan  he  would  recommend  to  all  who 
wish  to  learn. 

The  English  language  contains  over  one  hundred 
thousand  words,  and  though  only  a  small  proportion  of 
these  may  be  in  every-day  use,  there  are  sufficient  to  make 
it  no  ordinary  task  to  spell  all  that  come  along.  There 
are  many  peculiarities  about  these  words,  with  which  it 
will  be  well  for  the  learner  to  make  himself  acquainted. 
Besides  there  being  a  large  number  of  difficult  words,  there 
are  many  which  are  pronounced  alike  but  spelt  differently, 
or  spelt  alike  but  pronounced  differently,  or  spelt  and 
pronounced  alike  but  having  different  meanings ;  these, 
also,  the  would-be  compositor  must  make  himself  familiar 
with.  One  or  two  examples  may  be  given  here.  The 
words  rite,  right,  write,  wright,  are  all  spelt  differently 
and  have  different  meanings,  but  are  pronounced  alike. 
The  words  desert  (a  wilderness)  and  desert  (to  forsake)  are 
spelt  alike  but  pronounced  differently,  the  first  pronuncia- 
tion having  two  different  meanings  and  the  last  five.  Then 
the  words  order  (method),  order  (a  command)  and  order 
(a  society)  are  spelt  and  pronounced  alike  but  have  widely 
different  meanings.  These  are  only  a  few  examples,  but 
there  are  hundreds  of  words  in  the  English  language  that 
have  the  same  peculiarities.  Now,  a  compositor  should 
not  only  know  how  to  spell  all  these  words,  but  also 
understand  all  their  various  shades  of  meaning. 

The  next  step  will  be  learning  to  read,  and  those  who  have 
paid  most  attention  to  spelling  will  make  the  best  readers. 
It  is  a  good  plan  to  read  aloud,  either  alone  or  in  company 
with  someone  who  will  be  able  and  willing  to  correct  any 
errors  that  may  be  made.  A  compositor  should  be  able  to 
read,  he  should  also  know  how  to  read,  and  be  able  to  read 
everything.  Notwithstanding  the  many  advantages  in  the 


10  THE    PRACTICAL    PRINTER. 

way  of  educational  facilities  which  we  have  in  this  day — 
with  our  public  and  private  schools  and  colleges — it  is  safe 
to  say  that  not  more  than  ten  per  cent  of  the  people  can 
get  beyond  the  first  of  the  foregoing  requirements,  the 
other  ninety  per  cent  being  made  up  of  those  who  cannot 
read  at  all,  those  who  can  read  a  little,  and  those  who  can 
read  in  the  ordinary  acceptation  of  the  term.  As  for  those 
who  know  how  to  read,  that  is,  to  give  each  word  its 
proper  pronunciation  and  correct  color  of  meaning,  they 
will  be  found  among  the  ten  per  cent. 

A  compositor  must  be  able  to  read  manuscript  of  every 
kind,  and  no  one  knows  so  well  as  he  does  how  many  dif- 
ferent kinds.  No  two  men  write  just  alike,  and,  as  a  rule, 
those  who  write  for  the  press  acquire  a  habit  of  writing  so 
indistinctly  that  some  of  their  copy  looks  more  like  the 
work  of  a  mischievous  fly  who  had  got  his  legs  and  wings 
covered  with  ink  and  then  crawled  all  over  a  sheet  of 
paper  to  show  that  the  fly  tribe  had  some  idea  of  the  incon- 
gruous as  well  as  the  pen  tribe. 

What  causes  a  good  deal  of  trouble  sometimes  is  the 
careless  way  in  which  an  author  will  write  words  between 
the  lines,  or  on  the  margin,  without  making  any  sign  to 
show  where  they  are  to  be  inserted,  and  generally  writing 
such  words  very  small  and  indistinctly,  the  result  being 
that  an  inexperienced  compositor  may  waste  valuable 
time  in  trying  to  put  such  words  where  they  appear  to 
belong.  The  following  example  will  serve  to  show  the 
uninitiated  the  kind  of  copy  he  may  have  to  wrestle  with 
for  a  living : 


READING   AND    SPELLING. 


11 


REDUCED   FACSIMILE   OF     THE     HANDWRITING    OF    AN     EDITOR,    WHICH    SHOWS    HIS 
GENERAL   STYLE   OF   WRITING   FOR   THE    PRESS. 


•».  f*9,/v' 

,*         £A"~ 


XLdgr  ^$££-cr^.  fr-*?^ 


S\^j^j£ 


^&^fr  ffb+dvv***.  &G**Jr*  *~fa^^  **  ^^  f  <M£* 
^/s*a,  ^^^fr^r^*t^^^ 

•      eft        (^OA^C^V^AA. 


S, 


And  this  is  by  no  means  the  worst  he  can  get,  as  many 
a  compositor  knows  to  his  sorrow.  And  yet  there  are 
compositors  who  can  read  such  scrawls,  who  know  how  to 
wind  themselves  into  the  intricacies  of  the  worst  writing  ; 
and  the  way  they  do  it  is  by  closely  examining  the 
author's  style  (for  most  authors  have  a  style,  however  bad 


12  THE    PRACTICAL    PRINTER. 

it  may  be).  A  practiced  eye  will  be  able  to  detect  certain 
points  of  regularity  running  through  the  most  irregular 
looking  mass.  He  will  notice  that  although  the  /  is  not 
crossed  the  /  is  dotted ;  that  though  the  n  and  u  are  both 
made  alike,  the  e  and  c  are  distinctly  different,  that  the  / 
and  b  are  looped  at  the  top,  whereas  the  d  and  h  are  not ; 
that  the  r  at  the  beginning  of  a  word  is  different  from  that 
at  the  end  of  a  word,  and  that  the  s  is  subject  to  the  same 
rule ;  that  though  no  periods  are  used,  all  the  sentences 
begin  with  a  capital  letter.  But  even  with  this  knowledge 
it  may  be  difficult  to  decipher  all  the  words  so  as  to  make 
the  passage  read  like  common  sense,  and, often  a  word  has 
to  be  put  in  or  left  out  in  order  to  help  arrive  at  this  con- 
clusion. 

Another  common  cause  for  trouble  is  the  careless  way 
in  which  names  of  persons  or  places  are  written.  It  may 
be  possible  to  guess  what  an  ordinary  word  is  by  that 
which  goes  before  or  comes  after  it ;  but  names  cannot  be 
guessed  in  this  way,  and  as  there  are  often  several  ways  of 
spelling  the  same  name,  it  becomes  almost  impossible  for 
the  compositor  to  decipher  it.  But  still,  even  here,  the 
compositor  with  a  practiced  eye  has  an  immense  advantage 
over  the  uninitiated  ;  a  curve,  or  a  loop,  or  a  dot,  or  a 
thickening  of  a  stem,  or  some  other  apparently  insignifi- 
cant feature  in  one  or  two  of  the  letters  may  enable  him 
to  arrive  at  a  correct  solution  of  the  difficulty. 

Now  all  this  points  to  the  conclusion  that  the  would- 
be  compositor  should  make  himself  familiar  with  the  reading 
of  all  sorts  of  handwriting;  that  he  should  go  again  and 
again  over  the  same  ground,  until  he  knows  every  land- 
mark, every  point  of  similarity,  every  point  of  divergence. 
The  difficulties  may  be  great — they  are  great — but  so  long 
as  they  are  not  positively  insurmountable  he  should  press 


READING   AND    SPELLING.  13 

forward  till  he  conquers.  The  advantages  which  lie  beyond 
are  more  than  sufficient  to  reward  him  for  all  his  toil. 
Take  just  one  consideration.  Suppose  he  should  be 
employed  as  a  compositor  on  piecework  for  ten  years, 
it  is  safe  to  say  that  with  this  acquired  practice  and 
knowledge  he  could  earn  ten  per  cent  more  than  he 
could  without  it,  and  this  ten  per  cent  invested  in  a 
savings  bank  at  compound  interest,  would  in  the  ten 
years  amount  to  a  considerable  sum.  Besides  this  direct 
gain  there  are  many  indirect  advantages  that  accrue  to  the 
man  who  has  become  proficient  in  this  as  in  any  other 
branch  of  his  business.  And,  again,  there  is  great  advan- 
tage as  well  as  pleasure  in  this  knowledge,  on  account  of 
the  ease  with  which  work  is  done,  instead  of  the  constant 
worry  and  brainwork  caused  by  puzzling  over  badly 
written  copy.  And  still  again,  the  man  who  has  acquired 
this  knowledge  feels  pardonable  pride  and  pleasure  in  the 
possession  of  it. 

The  compositor  will  often  find  it  necessary  to  correct 
bad  spelling,  and  even  ungrammatical  sentences,  in  order 
to  arrive  at  what  the  manuscript  means  and  what  he  is  to 
set  up.  If  some  authors  were  to  have  their  copy  followed 
ad  literatim  by  the  compositors,  they  might  feel  ashamed 
of  themselves,  and  perhaps  take  a  little  more  pains  to 
prepare  the  next,  for  their  own  credit,  if  not  for  the  sake 
of  the  compositor,  who  suffers  so  much  from  such  care- 
lessness. Thus  it  will  be  seen  that  besides  being  able  to 
read  and  spell  correctly,  it  is  necessary  to  have  a  pretty 
correct  knowledge  of  grammar,  and  besides  this  again  it  is 
necessary  to  be  well  informed  upon  matters  generally.  An 
author  may  only  need  to  be  posted  on  one  particular  sub- 
ject, but  a  co^Dositor  needs  to  be  posted  on  all  subjects, 
in  order  to  understand  what  is  being  written  by  all  the 


14  THE   PRACTICAL   PRINTER. 

different  authors  whose  copy  he  has  to  digest.  It  may  be 
true  that  there  are  a  great  many  compositors  who  have  not 
this  knowledge,  but  that  does  not  alter  the  fact  that  such 
knowledge  is  necessary,  and  if  necessary  should  be  acquired 
at  any  and  all  cost  by  those  who  desire  to  become  efficient 
workmen.  Pope  says  that  "  a  little  learning  is  a  dan- 
gerous thing,"  and  it  may  just  as  truly  be  said  that  a 
partial  knowledge  of  the  compositor's  art  is  an  unprofitable 
thing.  It  is  better  to  have  a  thorough  knowledge  of  the 
simplest  form  of  employment  than  to  have  an  imperfect 
knowledge  of  anything  else,  however  much  better  or  more 
exalted  it  may  appear.  Someone  has  been  credited  with 
saying  :  "  If  I  were  a  tinker,  no  tinker  besides  should  mend 
a  kettle  like  me  ;  "  and  there  can  be  no  doubt  that  a  good 
tinker  has  more  to  be  proud  of  than  a  bad  compositor. 


PUNCTUATION   AND   CAPITALIZATION.  15 


PUNCTUATION    AND    CAPITALIZATION. 


'T^HERE  are  few  subjects  upon  which  there  is  more 
JL  diversity  of  opinion  than  that  of  punctuation.  Learned 
men — authors,  editors,  printers,  schoolmasters — all  agree 
to  differ  as  to  what  should  constitute  the  rule  for  accu- 
rately punctuating  a  printed  work.  Books  that  have  been 
written  on  the  subject,  have  sometimes  been  held  up  as 
being  themselves  examples  of  bad  punctuation  !  There- 
fore, it  is  not  pretended  here  to  lay  down  any  infallible 
rules,  but  simply  to  give  a  general  idea  of  the  subject,  such 
as  will  be  of  service  to  those  who  purpose  learning  the 
printing  business.  If  it  were  in  our  power  to  suggest  such 
a  system  of  punctuation  as  would  meet  the  views  of  all  the 
different  factions,  it  would  entitle  us  to  the  everlasting 
gratitude  of  compositors,  for  they,  above  all  others,  suffer 
from  the  present  laxity  and  indefiniteness  which  prevails 
among  wi  iters  for  the  press. 

It  often  happens  that  an  author  does  not  attempt  to 
punctuate  his  copy,  and  the  compositor  will  do  his  best 
to  make  up  for  the  author's  negligence;  then  the  proof- 
reader has  different  ideas  to  those  of  the  compositor,  and 
changes  the  punctuation  accordingly,  and  the  compositor 
has  to  make  the  changes  in  his  own  time.  Then  when  the 
author  gets  the  proof  he  thinks  that  certain  other  changes 


16  THE    PRACTICAL    PRINTER. 

are  necessary,  and  makes  the  punctuation  entirely  different 
from  that  of  either  the  compositor  or  reader. 

We  will  now  give  a  list  of  the  various  punctuation 
points,  and  explain  their  several  uses  ;  for  some  of  them 
serve  a  variety  of  purposes  ;  all  of  which  the  compositor 
should  be  thoroughly  familiar  with. 

Comma  (,).  This  marks  the  shortest  pause  in  reading 
and  writing,  and  is  used  to  divide  the  several  clauses  of  a 
lengthy  sentence.  Although  it  is  but  a  small  point,  it 
causes  the  compositor  more  trouble  than  any  other ;  there- 
fore, in  setting  up  copy  which  is  not  punctuated,  he  will 
find  it  more  profitable  to  use  commas  sparingly  than  too 
profusely;  at  the  same  time  he  should  use  them  where 
requisite,  as  the  omission  of  a  comma  may  entirely  change 
the  meaning  of  a  sentence.  Take  the  following  as  an 
example:  "The  troops  landed,  and  killed  a  hundred 
negroes."  Now,  if  the  comma  were  left  out  after  the 
word  "landed,"  the  sentence  would  have  a  different 
meaning,  making  it  appear  that  the  troops  first  landed  the 
negroes  and  then  killed  them.  Commas  are  also  used,  in 
conjunction  with  apostrophes,  to  denote  extracts  or  quota- 
tions from  other  works,  conversational  matter,  etc.  This 
is  done  by  inverting  two  commas  at  the  commencement 
and  placing  two  apostrophes  at  the  end  of  such  passages  as 
are  quoted.  There  should  always  be  a  thin  space  between 
the  quotation  marks  and  the  word  they  precede  or  follow. 
Where  a  quotation  occurs  within  another  quotation,  a 
single  comma  and  apostrophe  must  be  used ;  and  if  both 
quotations  end  together,  a  thin  space  is  necessary  to  divide 
the  single  apostrophe  from  the  double.  Commas  are  also 
used  in  catalogues  and  other  such  works  instead  of  the 
word  "  ditto,"  by  placing  two  of  them  under  a  word  which 
needs  to  be  repeated. 


PUNCTUATION    AND    CAPITALIZATION.  17 

Semicolon  (;).  This  is  used  to  mark  a  longer  pause 
than  the  comma.  It  will  be  seen  that  two  points  (the 
period  and  comma)  are  used  to  make  this  sign,  the  mean- 
ing of  which  is  that  what  has  gone  before  is  complete  in 
itself,  but  that  what  follows  is  connected  with  it  and 
is  dependent  upon  it.  A  thin  space  should  always  be 
put  before  this  point,  and  extra  space  after  it.  This 
remark  applies  also  to  the  colon,  exclamation  and  interro- 
gation. 

Colon  (:).  This  is  the  next  longest  pause,  and  being 
made  of  two  periods,  means  that  what  has  gone  before  is 
complete  in  itself,  as  is  also  what  follows,  and  yet  that 
they  are  intimately  connected.  This  point  is  also  used  in 
other  ways,  such  as  after  the  words  thus :  as  follows :  the 
following:  Dear  sir:  etc.;  also  in  reference  to  Scripture 
quotations,  as,  "John  22:  16;  Matt.  14:  4;"  and  in 
many  other  ways. 

Period  (.).  Besides  being  used  to  close  a  sentence, 
the  period  is  also  used  in  cases  of  abbreviations,  such  as 
Mr.,  Dr.,  Cr.,  Jno.,  etc.;  but  when  used  as  an  abbrevia- 
tion mark  it  does  not  affect  the  punctuation.  Such  abbre- 
viations as  Tom,  Ben  and  per  cent  do  not  need  the 
abbreviating  period,  for  they  have  themselves  become 
words ;  the  same  is  true  of  ist,  2d,  3d,  4th,  etc.  The 
period  is  used  to  separate  decimals  from  whole  numbers, 
as,  5.055  and  $104.05.  It  is  also  used  after  enumerating 
figures  or  letters,  as,  "I  have  two  good  reasons :  i.  I  can- 
not give  my  attention  to  the  business ;  2.  I  have  no  money 
to  invest  in  it.'*  Some  authors  make  their  sentences  so 
long  that  twenty  commas  and  several  semicolons  are  used 
to  one  period.  Others  break  their  writing  up  into  short 
sentences  and  use  almost  as  many  periods  as  commas. 
The  compositor  has  to  punctuate  so  as  to  make  sense,  and 


18  THE    PRACTICAL    PRINTER. 

he  often  finds  it  hard  to  do  this  with  a  piece  of  badly 
written  copy. 

Exclamation  (!).  The  name  of  this  point  suggests  its 
use.  It  is  placed  after  every  sudden  or  abrupt  exclama- 
tion, such  as,  Oh  !  Ah  !  Alas  !  Hush  !  Bravo  !  Hurrah  ! 
or  an  expression  of  surprise,  as,  How  wonderful !  Mar- 
velous !  How  beautiful !  The  exclamation  point  is  some- 
times repeated,  to  give  greater  effect,  as,  "  Selling  off 
below  cost  !  !  Great  sacrifice  !  !  !" 

Interrogation  (?).  This  point  is  always  placed  after  a 
question.  It  is  sometimes  used  in  the  middle  of  a  sentence 
in  connection  with  a  doubtful  word,  or  where  the  author 
is  speaking  ironically.  "  The  report  furnished  by  the  com- 
pany shows  that  Mr.  Waters  (Walters  ?)  was  among  the 
killed."  Or,  "  The  abuse  heaped  upon  me  by  Mr.  Smith 
in  his  religious  (?)  journal  is  simply  the  result  of  personal 
spite." 

Em  dash  ( — ).  This  has  come  to  be  used  by  many 
writers  as  a  punctuation  mark.  It  is  used  in  parenthetical 
sentences,  and  in  writing  which  has  many  disconnected 
sentences.  It  is  also  placed  after  a  colon,  thus: — ,  the 
following  : — ,  etc.  The  dash  is  generally  used  after 
side-heads,  and  also  before  authorities  at  the  end  of  a 
paragraph.  It  is  sometimes  added  to  the  common  points 
to  lengthen  the  pause  or  supply  the  want  of  an  inter- 
mediate point,  to  show  emphasis,  or  to  mark  transition. 
It  is  also  used  where  a  sentence  is  abruptly  broken, 
as  "  Sir,  you  are  a — But,  no  matter,  I  will  not  commit 
myself." 

Apostrophe  (  '  ).  This  is  used  as  a  quotation  mark,  in 
conjunction  with  the  comma  (as  already  stated),  and  has 
a  variety  of  other  uses  besides.  It  is  a  sign  of  abbrevia- 
tion, as  in  don't,  won't,  we're,  o'er,  thro',  and  in  many 


PUNCTUATION   AND    CAPITALIZATION.  19 

other  similar  cases.  It  also  shows  the  possessive  case,  as, 
man's,  woman's,  etc. 

Parenthesis  ().  The  chief  use  of  the  parenthesis  is  to 
inclose  a  sentence  which  is  inserted  in  another  sentence 
for  the  sake  of  strengthening  the  argument  or  point  to  be 
demonstrated,  but  which  could  be  left  out  without  break- 
ing the  sense  of  the  original  sentence.  For  example  :  ' '  The 
defendant  alleges  that  before  the  death  of  her  husband 
(not  after  his  death,  as  stated  by  the  plaintiff)  Mrs. 
Jones  signed  the  agreement,"  etc.  Parentheses  are  also 
used  in  other  ways,  but  in  all  cases  the  punctuation  is  not 
affected  by  them,  and  points  should  be  placed  just  as  they 
would  be  if  no  parenthetical  matter  were  there.  A  good 
many  compositors  appear  to  be  in  doubt  as  to  this,  and  will 
often  put  a  comma  before  and  after  such  parenthetical  mat- 
ter, which  is  decidedly  wrong  ;  for  if  they  were  to  lift  out 
the  parentheses,  and  the  words  which  are  inclosed,  they 
would  be  left  with  two  commas  instead  of  one.  For  exam- 
ple :  "  The  proceedings,  as  stated  by  Blackstone,  (Chap- 
ter III  of  Commentaries),  were  all  written,"  etc.  Now  if 
the  parenthetical  matter  were  lifted  out  and  the  other 
words  closed  up  you  would  have  two  commas  left.  The 
comma  after  "Blackstone"  should  not  be  there.  Some- 
times a  few  words  may  be  put  in  parentheses  at  the  end  of 
a  sentence,  and  the  compositor  is  puzzled  to  know  whether 
the  period  should  be  put  inside  or  outside.  It  should  be 
outside.  But  where  a  complete  sentence  is  added,  and 
parentheses  are  marked,  then  the  period  should  be  inside. 
A  few  examples  may  be  of  service  here,  as  it  is  well  that 
this  point  should  be  thoroughly  understood. 

"Aconite  (Monkswood). — For  all  feverish  and  inflam- 
matory affections  (with  thirst  and  dry  skin),  pleurisy,  neu- 
ralgia and  rheumatism  (generally  the  result  of  cold).  (See 


20  THE    PRACTICAL    PRINTER. 

also  Belladonna.)"  "  Deposit  required  (except  from  mem- 
bers of  the  A.  P.  A.)."  "Reformed  Church,  Bedford 
avenue  (E.  D.);  Rev.  C.  Terhume." 

Brackets  [  ].  These  are  used  in  some  works,  though 
not  often  ;  but,  as  regards  punctuation,  the  same  remarks 
apply  to  them  as  to  parentheses.  They  are  used  princi- 
pally in  dictionaries  and  other  books  of  reference,  and  are 
often  used  in  jobwork  in  a  variety  of  ways,  as,  [22],  [over], 
[see  back]. 

Hyphen  ( -).  This  is  also  used  principally  in  diction- 
aries, to  show  the  divisions  of  words  by  syllables,  but  is 
used  in  several  other  ways  besides,  as  when  a  word  is 
divided  at  the  end  of  a  line  and  also  in  compound  words. 
With  reference  to  the  latter  it  may  be  well  to  give  a  few 
examples.  A  phrase  is  generally  made  a  compound  word 
when  it  expresses  a  complex  idea  rather  than  two  or 
more  distinct  ideas,  as,  "  There  is  pretty  ten-year-old, 
rosy-cheeked,  golden-haired  Mary."  "  The  tree-and- 
cloud -shadowed  river."  "  Twenty-one  ten-dollar  bills." 
"Time-tutored  age  and  love-exalted  youth  "  is  very  differ- 
ent in  meaning  from  "  Time  tutored  age  and  love  exalted 
youth." 

With  regard  to  capitalization,  which  is  closely  con- 
nected with  punctuation,  there  is  great  diversity  of  style 
among  authors,  some  requiring  that  they  be  used  freely 
and  others  disregarding  them  except  for  proper  names  and 
the  beginning  of  sentences.  But  the  following  rules  will 
be  likely  to  cover  the  ground,  so  far  as  it  affects  the  edu- 
cation of  the  compositor. 

They  must  always  be  used  in  the  following  cases  : — 

i.  At  the  commencement  of  a  sentence,  after  a  period 
and  after  exclamation  and  interrogation  points,  where  such 
points  close  a  sentence. 


PUNCTUATION   AND    CAPITALIZATION.  21 

2.  For  all  proper  names,  such  as  Chicago,  Charles, 
British,  French,  United  States,  Europe,  Atlantic,  Pacific, 
Captain  Jones,  etc. 

3.  For  names  of  publications,  public  buildings,  clubs 
and  institutions. 

4.  At  the  commencement  of  each  line  of  poetry. 

5.  For  the  days  of  the  week  and  for  the  names  of  the 
months. 

6.  For  all  pronouns  and  titles  that  have  reference  to 
the  Deity,  such  as  His,  He,  Himself,  Thou,  Thine,  Mes- 
siah,   Sun    of    Righteousness,    Savior,   Lord,   Almighty, 
Supreme  Being,  Providence,  etc. 

7.  At  the  beginning  of  quotations  from  other  works, 
such   as,    "We   are  reminded    of  the   words   of  Burns: 
'  Man's  inhumanity  to   man   makes  countless  thousands 
mourn.'  "     But  there  are  exceptions  to  this  rule,  as  in  the 
following  quotation  :   "  Shakespeare  says  that  '  conscience 
doth  make  cowards  of  us  all.'  " 

8.  At  the  commencement  of  each  line  or  paragraph  in 
displayed  jobwork. 

Besides  the  cases  enumerated,  there  are  many  others  in 
which  capitals  should  be  used ;  some  of  them  imperative 
and  others  optional. 

Many  authors  like  to  have  capitals  put  to  the  words 
which  express  the  subject  upon  which  they  are  writing. 
For  instance,  when  the  subject  is  Free  Trade,  those  words 
would  be  capitalized  ;  so,  if  it  were  Protection,  or  Astron- 
omy, or  Mathematics,  or  Ancient  History,  such  words 
would  have  capital  letters. 

Then  capitals  are  needed  for  the  pronoun  I,  the  inter- 
jection O,  and  the  exclamation  Ah  ! 

In  catalogue  and  circular  work,  capitals  should  be  used 
pretty  freely,  for  not  only  do  they  help  to  bring  out  the 


22  THE    PRACTICAL    PRINTER. 

salient  points,  but  they  improve  the  appearance  of  such 
work,  and  enliven  an  otherwise  flat  page  of  matter. 

It  will  be  seen  from  the  foregoing  that  punctuation  and 
capitalization  are  intimately  connected,  and  compositors 
will  do  well  to  study  both  together.  There  is  much  more 
in  them  than  appears  at  first  sight,  and  we  have  only  just 
opened  up  some  of  the  leading  points  as  guides  for  further 
study.  It  remains  for  the  reader  to  follow  along  the  lines 
laid  down  until  he  reaches  a  fuller  comprehension  of  this 
important  subject.  However,  like  everything  else  that  is 
worth  learning,  it  calls  for  patience  and  perseverance 
before  it  yields  all  the  benefits  and  rewards  which  it 
contains. 

We  shall  now  pass  on  to  the  more  practical  and 
technical  part  of  our  subject,  giving  a  description  of  the 
various  implements  and  appliances  to  be  found  in  the 
composing  room,  with  their  names  and  particular  uses, 
showing  the  different  kinds  and  sizes  of  type  and  their 
relation  to  each  other,  explaining  the  meanings  and  uses  of 
commercial  and  other  signs,  references  and  accents,  and 
also  give  instructions  in  learning  the  boxes,  distribution, 
composition,  correcting,  making  up,  imposition  and 
tabular  work. 

But  let  no  beginner  think  that  he  can  afford  to  pass 
lightly  over  what  has  gone  before  and  plunge  at  once  into 
what  is  to  follow.  This  is  too  often  done  by  those  who  are 
anxious  to  commence  setting  up  type  before  they  know 
anything  of  the  previous  education  which  is  necessary  to 
make  a  competent  compositor.  Such  persons  go  to  swell 
the  ranks  of  that  unsatisfactory  and  unprofitable  class  called 
"  amateurs !" 

There  is  perhaps  a  sense  in  which  all  beginners  are 
amateurs,  but  the  class  referred  to  will  be  nothing  but 


PUNCTUATION   AND   CAPITALIZATION  23 

amateurs  to  the  end  of  their  days,  because  they  have  never 
taken  the  trouble  to  learn  the  rudiments  of  the  business, 
but  have  commenced  at  once  to  practice  what  they  do  not 
understand.  There  is  the  same  difference  between  them 
and  printers  as  there  is  between  quacks  and  doctors  —  the 
latter  have  passed  through  a  proper  training  and  obtained 
their  diplomas,  while  the  former  have  substituted  presump- 
tion for  knowledge  and  trickery  for  legitimate  title. 


24  THE    PRACTICAL    PRINTER, 


NAMES  OF  TYPES  AND   THEIR  RELATIVE 
SIZES. 


IN  order  to  give  full  information  and  instruction  under 
this  head,  it  will  be  necessary  to  consider  two  separate 
systems,  for  there  are  two  in  existence  at  the  present  time, 
viz :  the  old  system  of  names  and  sizes  of  types  and  the 
new  American  point  system.  The  probability  is  that 
within  a  few  years  the  latter  will  be  the  only  universally 
acknowledged  system,  but  until  then  we  must  accept 
matters  as  they  stand,  and  consider  both. 

Types  which  are  ordinarily  used  for  book  and  news- 
paper work  are  called  Roman,  and  these  are  certainly  the 
plainest  and  most  readable  of  all  the  types  in  use.  Old 
Style  is  also  Roman,  but  is  made  to  imitate,  in  some 
measure,  the  style  of  type  used  in  olden  times,  and  the 
choice  between  modern  and  old  style  Roman  is  simply  a 
matter  of  taste,  both  being  about  equally  readable  and  suit- 
able for  the  same  class  of  work.  Italic  has  the  same  face, 
but  instead  of  being  upright,  is  made  to  slant  to  the  right, 
and  was  originally  intended  as  an  imitation  of  hand- 
writing. Italic  is  cast  to  match  both  the  modern  and  old 
style  Roman  faces,  so  that  it  can  be  used  in  conjunction 
with  them,  part  of  a  paragraph  being  set  in  Roman  and 
the  other  part,  or  certain  words  of  it,  being  set  in  Italic. 


NAMES   OF   TYPES   AND   THEIR   RELATIVE   SIZES.          25 

When  thus  used,  it  is  generally  for  the  purpose  of  giving 
emphasis  .to  such  parts  or  special  words. 

Besides  the  ordinary  Roman  and  Italic  faces,  there  are  a 
great  number  of  others  (so  many  that  it  would  be  useless 
to  attempt  to  name  them),  which'  embrace  nearly  every 
conceivable  design  or  character,  from  the  plain  Gothic  to 
the  most  artistic  and  delicately  formed  ornamental  faces. 
These  are  used  principally  for  what  is  called  Job  Work ; 
and  further  on  we  will  give  rules  for  the  compositor's 
guidance  in  the  selection  of  faces  to  suit  the  class  of  job 
he  may  have  in  hand,  for  this  variety  of  faces  is  often  a 
great  stumbling-block  to  the  compositor,  and  leads  him  to 
set  up  the  most  incongruous  and  inartistic  combinations 
of  types. 

But  whatsoever  the  faces  of  types  may  be,  and  however 
great  their  variety,  they  are  all  cast  on  bodies  of  certain 
regular  sizes,  that  is  so  far  as  their  depth  is  concerned,  so 
that  every  type  cast  on  what  is  called  pica  body  would  be 
the  same  size  in  depth,  no  matter  what  its  face  might  be. 

The  usual  sizes,  under  the  old  system,  are  as  follows : 

Brilliant,  Pica, 

Minikin,  English, 

Diamond  Columbian, 

Pearl,  Great  Primer, 

Agate  (or  Ruby),  Paragon, 

Nonpareil  Double  Small  Pica, 

Minion,  Double  Pica, 

Brevier,  Double  English, 

Bourgeois,  Double  Great  Primer, 

Long  Primer,  Double  Paragon, 

Small  Pica,  Canon  (or  4-line  pica). 


26  THE    PRACTICAL    PRINTER. 

In  order  to  give  an  idea  of  the  relationship  that  these 
sizes  bear  one  to  another,  we  present  some  lines  set  up 
from  the  same  copy  in  different  sizes  of  type. 

Printing  is  the  art  of  producing  impressions,  from  characters  or  figures,  on  paper  or  other  mate 
Printing  is  the  art  of  producing  impressions,  from  characters  or  figures,  on  paper  or 
Printing  is  the  art  of  producing  impressions,  from  characters  or  figures,  on  p 
Printing  is  the  art  of  producing  impressions,  from  characters  or  figur 
Printing  is  the  art  of  producing  impressions,  from  characters  or 
Printing  is  the  art  of  producing  impressions,  from  characters  o 
Printing  is  the  art  of  producing  impressions,  from  charac 
Printing  is  the  art  of  producing  impressions,  from  p 
Printing  is  the  art  of  producing  impressions,  fr 
Printing  is  the  art  of  producing  impressio 

Printing  is  the  art  of  producing  i 

The  following  comparison  will  further  illustrate  this 
point,  though,  unfortunately,  under  the  old  system,  it 
cannot  be  depended  upon  as  an  infallible  guide,  on 


NAMES    OF    TYPES    AND    THEIR   RELATIVE    SIZES.  27 

account  of  the  variations  in  the  standards  of  the  different 
foundries : 

One  line  of  Minion  equals  two  lines  of  Brilliant. 

"      "  Brevier                "       "  Minikin. 

"      "  Bourgeois            "       "  Diamond. 

"      "  Long  Primer       "       "  Pearl. 

"      "  Small  Pica          "       "  Agate  (or  Ruby). 

"      "  Pica                     "       "  Nonpareil. 

"      "  English               "       "  Minion. 

"      "  Columbian          "_     "  Brevier. 

"      "  Great  Primer      "       "  Bourgeois. 

"      "  Paragon              "       "  Long  Primer. 

Now,  if  these  proportions  could  be  depended  upon, 
and  if  a  printer  could  order  such  sizes  from  any  of  the  many 
typefounders,  with  the  assurance  that  he  would  get  the 
exact  sizes  with  an  accuracy  of  proportion,  nothing  more 
could  be  desired.  But  every  printer  knows  that  this  is  not 
possible  under  the  old  system.  Not  only  do  the  above 
proportions  vary,  but  if  he  should  order  any  one  size  from 
two  different  foundries,  he  would  get  two  sizes  instead  of 
one.  He  would  find  that  pica  measures  six  to  the  inch  in 
some  cases  and  not  in  others ;  that  should  he  be  compelled 
to  mix  the  types  of  one  foundry  with  those  of  another,  he 
would  have  to  justify  with  paper  or  cardboard. 

But  with  the  point  system  all  this  is  changed.  Not 
only  do  all  the  different  foundries  supply  the  same  sizes, 
but  the  proportions  are  correct,  and  not  only  do  two  lines 
of  some  sizes  equal  one  line  of  some  other,  but  every  size 
bears  a  certain  relation  to  every  other  size,  so  that  the 
power  of  making  combinations  with  different  sizes  is 
almost  unlimited. 

The  following  scale,  issued  by  MacKellar,  Smiths  & 
Jordan,  of  Philadelphia,  shows  the  names  and  sizes  of  the 
types  under  the  point  system  : 


28  THE    PRACTICAL    PRINTER. 

THE  NEW  POINT  SCALE. 

3-point  body Excelsior. 

3^  "      "      Brilliant. 

4  "      "      Semi-Brevier. 

4^  "      "      Diamond. 

5  "      "      Pearl. 

5/4"      "     Agate. 

6  "      "      Nonpareil. 

7  "      "     Minion. 

8  "      "      Brevier. 

9  "  "  Bourgeois. 

lo  "  "  Long  Primer. 

H  "  "  Small  Pica. 

12  "  "  Pica. 

„      u  r  2-line  Minion. 

'    I  English. 

16      "      "     2-line  Brevier. 

f  Great  Primer. 
\  3-line  Nonpareil. 

(  2-line  Long  Primer. 

20       "      "     {  _ 

C  Paragon. 

22       "      "     2-line  Small  Pica. 

24       "  *    "     2-line  Pica. 

28       "      "     2-line  English. 

30       "      "     5-line  Nonpareil. 

f  3-line  Small  Pica. 

\  4-line  Brevier. 

(  2-line  Great  Primer. 

I  3-line  Pica. 

40       "      "      Double  Paragon. 

42       "      "     7-line  Nonpareil. 

c  4-line  Small  Pica. 

44  \  Canon. 

48       "      "        4-line  Pica. 

r  5  line  Small  Pica. 

t  9-line  Nonpareil. 

60      "      "     5-Hne  Pica. 

72       "      <{     ' 6-line  Pica. 


NAMES   OF   TYPES   AND    THEIR    RELATIVE   SIZES. 


29 


It  will  be  noticed  that  the  old  names  are  preserved  and 
a  few  new  ones  added,  and  that  each  being  made  to  a 
certain  number  of  points  (each  point  being  one-twelfth 
of  a  pica),  it  is  easy  to  justify  the  different  sizes  together 
without  the  aid  of  paper  or  cardboard. 

TABLE  showing  what  number  of  ems  of  other  sizes  will  correspond 
v.'i.tli  pica,  from  10  to  40  ems  in  depth. 


ri 

£ 

Small  Pica. 

bjofc 

°l 

^Pn 

Bourgeois. 

kj 

.s 

Minion. 

Nonpareil.  . 

£ 
| 

< 

rt 
PL, 

Diamond. 

; 
5 

£ 

10 

II 

12 

13^ 

15 

17 

20 

22 

24 

26^ 

10 

ii 

12 

13* 

H% 

16^ 

19 

22 

24 

26^ 

29^ 

II 

12 

13 

Hf 

16 

18 

20^ 

24 

26 

29 

32 

12 

13 

I4X 

"51 

17^ 

19^ 

22X 

26 

28^ 

31 

34K 

13 

H 

15* 

i6f 

18^ 

21 

24 

28 

3<>X 

33^ 

37^ 

14 

15 

i6tf 

18 

20 

22^ 

25^ 

30 

32^ 

36 

40 

15 

16 

i7# 

'9i 

21^ 

24 

27X 

32 

35 

38^ 

42^ 

16 

i'/ 

18^ 

20f 

22% 

25^ 

29 

34 

37 

4i 

45.^ 

17 

18 

'9# 

2lf 

24 

27 

31 

36 

39K 

43 

48 

18 

19 

20^ 

22j 

25M" 

28^ 

32^ 

33 

4i>£ 

45  X 

5<^ 

19 

20 

21% 

24 

26% 

30 

34X 

40 

43^ 

48 

53^ 

20 

21 

23 

25i 

28 

3'X 

36 

42 

46 

5o/2 

56 

21 

22 

24 

26f 

29^ 

33 

38 

44 

48 

53 

59 

22 

23 

25 

27| 

30% 

34^ 

39>^ 

46 

50 

55^ 

6i# 

23 

24 

26 

28| 

32 

36 

4i 

48 

52 

58 

64 

24 

25 

27X 

30 

33^ 

37^ 

42^ 

50 

54^ 

60 

66^ 

25 

26 

28^ 

314 

34% 

39 

44^ 

52 

57 

62 

69 

26 

27 

29^ 

32f 

36 

40^ 

46X 

54 

59 

64^ 

72 

27 

28 

3<^ 

33* 

37^ 

42 

48 

56 

61 

67 

75 

28 

29 

3«# 

34f 

38% 

43^ 

49^ 

58 

63 

69^ 

77X 

29 

30 

32^ 

36 

40 

45 

$l>i 

60 

65 

72 

80 

30 

31 

33^ 

37i 

41  J/3 

46^ 

53X 

62 

67K 

74/2 

82^ 

31 

32 

35 

38| 

42% 

48 

55 

64 

70 

77 

85 

32 

33 

36 

39l 

44 

49^ 

56K 

66 

72 

79^ 

88 

33 

34 

37 

4Qf 

45  1A 

5i 

58 

68 

74 

82 

9i 

34 

35 

38 

42 

46% 

52^ 

60 

70 

76X 

84 

93^ 

35 

36 

39 

43^ 

48 

54 

62 

72 

79 

86 

96 

36 

37 

40 

44f 

49K 

55X 

63^ 

74 

81 

88^ 

98^ 

37 

38 

4i 

45* 

50% 

57 

65 

76 

83 

9i 

101 

38 

39 

42X 

46* 

52 

58^ 

66^ 

78 

85 

93/2 

104 

39 

4° 

43K 

48 

53K 

60 

68^ 

80 

87 

96 

107 

40 

30 


THE    PRACTICAL    PRINTER. 


TABLE  showing  the  number  of  lines  of  different  sizes  of  type  contain- 
ing a  thousand  ems,  from  10  to  40  ems  pica  in  width. 


,cj 

.•S 

NUMBER  OF  LINES  CONTAINING  A  THOUSAND  EMS. 

£ 
a 

1 

0 

'p. 

^ 

I 

^: 

0 

1 

rt 

1 

rt 

0 

a 

g 

H 

3 

'£ 
E 

.2 
'5 

A 
c 

0 

a 

§ 

S 

S 

s 

in 

*£ 

w 

m 

a 

fc 

£ 

Q 

10 

IOO 

91 

83 

75 

67 

59 

50 

46 

42 

38 

II 

91 

83 

76 

68 

61 

53 

46 

42 

38 

34 

12 

83 

77 

70 

63 

56 

49 

42 

38 

35 

32 

I3 

77 

70 

65 

58 

51 

45 

39 

35 

33 

29 

14 

66 

60 

54 

48 

42 

36 

33 

30 

27 

15 

67 

62 

56 

50 

44 

39 

33 

28 

25 

16 

63 

57 

52 

47 

42 

36 

31 

29 

26 

24 

17 

59 

54 

49 

44 

39 

34 

29 

27 

25 

22 

18 

56 

46 

42 

37 

32 

28 

25 

23 

21 

19 

53 

49 

44 

40 

35 

26 

24 

22 

2O 

20 

5° 

46 

42 

38 

33 

29 

25 

23 

21 

19 

21 

48 

44 

40 

36 

32 

28 

24 

22 

20 

18 

22 

45 

42 

38 

34 

30 

26 

23 

21 

19 

17 

23 

44 

40 

36 

32 

29 

25 

22 

2O 

18 

16 

24 

42 

39 

35 

31 

28 

24 

21 

19 

17 

16 

25 

40 

37 

33 

30 

27 

23 

20 

18 

17 

15 

26 

39 

35 

32 

29 

26 

23 

19 

18 

•16 

15 

27 

37 

34 

28 

25 

22 

18 

17 

16 

14 

28 

36 

33 

30 

27 

24 

21 

18 

16 

15 

14 

29 

35 

32 

29 

26 

23 

20 

17 

16 

15 

13 

30 

34 

31 

28 

25 

22 

20 

17 

15 

*4 

13 

32 

3° 

27 

24 

21 

19 

16 

15 

14 

12 

32 

31 

29 

26 

23 

21 

18 

16 

14 

13 

12 

33 

30 

28 

25 

23 

2O 

18 

15 

14 

13 

12 

34 

3° 

27 

25 

22 

2O 

17 

15 

13 

13 

II 

35 

29 

26 

24 

21 

19 

17 

15 

13 

12 

II 

36 

28 

26 

23 

21 

19 

16 

14 

13 

12 

II 

37 

27 

25 

23 

20 

18 

16 

14 

12 

12 

10 

38 

26 

24 

22 

20 

1  8 

16 

13 

12 

II 

10 

39 

26 

24 

22 

19 

17 

15 

13 

12 

II 

IO 

40 

25 

23 

21 

19 

17 

15 

12 

II 

10 

9 

It  was  not  considered  necessary  to  give  fractions  in  this  table,  the 
figures  being  near  enough  for  all  practical  purposes. 


NAMES    OF    TYPES    AND    THEIR    RELATIVE    SIZES. 


TABLE  showing  the  equivalents  in  depth  of  100  lines,  from  Pica  to 
Diamond. 


IOO   LINES  OF 

rt 

£ 

Small  Pica. 

IH* 

8 

£ 

Cfl 

Bourgeois. 

Brevier. 

Minion. 

Nonpareil. 

1 
< 

•E 

1 

Diamond. 

Pica  equal 

IOO 

109 

1  20 

133 

150 

171 

2OO 

218 

240 

266 

Small  Pica      " 

92 

IOO 

no 

122 

137 

157 

184 

200 

2  2O 

244 

Lg.  Primer      " 

83 

91 

IOO 

III 

I25 

H3 

166 

182 

200 

222 

Bourgeois  .     " 

75 

82 

90 

IOO 

112 

I29 

150 

164 

1  80 

2OO 

Brevier  ...     " 

67 

73 

80 

89 

IOO 

114 

134 

146 

160 

174 

Minion  ...     " 

58 

64 

70 

78 

87 

IOO 

116 

128 

140 

I56 

Nonpareil  .     " 

5o 

55 

60 

67 

75 

86 

IOO 

110 

1  20 

134 

Agate  " 

46 

5o 

55 

61 

69 

79 

92 

IOO 

no 

122 

Pearl  « 

42 

45 

5o 

56 

63 

7i 

84 

90 

IOO 

112 

Diamond  .  .     " 

38 

4i 

45 

50 

56 

64 

76 

82 

90 

100 

TABLE  showing  the  number  of  ems  contained  in  one  square  inch, 
from  Pica  to  Diamond. 


Pica 36  ems. 

Small  Pica 42     " 

Long  Primer 52    " 

Bourgeois 64    " 

Brevier  . .  .81     " 


Minion 105  ems. 

Nonpareil 144     " 

Agate 168     " 

Pearl 208     " 

Diamond 256    " 


32  THE    PRACTICAL    PRINTER. 


PECULIAR  SIGNS  USED  IN  PRINTING. 


H^HE  number  and  variety  of  signs  used  in  printing  are 
JL  much  greater  than  the  casual  observer  would  imagine. 
Besides  those  used  in  ordinary  work  there  are  many  which 
are  only  needed  in  special  cases.  But  a  compositor  needs 
to  know  them  all  —  not  only  their  names  but  also  their 
uses.  And  yet  how  few  have  ever  cared  to  study  them  or 
even  make  themselves  acquainted  with  their  names.  A 
great  many  men  are  puzzled  when  they  come  across  a 
medical,  astronomical  or  algebraical  sign  in  their  copy, 
and  neither  know  its  name,  its  significance,  nor  where  to 
look  for  it.  Now,  why  is  this  ?  The  answer  in  most  cases 
is,  perhaps,  indolence — a  disposition  to  put  off  to  some 
other  time  the  trouble  of  learning  anything  that  can  pos- 
sibly be  done  without  for  the  present. 

But  it  is  not  our  intention  to  leave  out  this  important 
part  of  our  subject,  and  we  believe  that  it  is  for  the  best 
interest  of  those  for  whom  we  are  writing  that  we  should 
insist  upon  a  close  and  careful  examination  of  every  sign 
which  they  may  possibly  have  to  use  either  in  the  present 
or  in  the  future.  It  is  far  better  to  learn  these  things  too 
soon  than  wait  until  the  time  comes  for  putting  them  into 
practice. 

Most  of  the  larger  dictionaries  contain  lists  of  these 
signs,  and  there  is  no  difficulty  in  becoming  acquainted 


PECULIAR   SIGNS   USED    IN   PRINTING.  33 

with  them.  We  shall  only  furnish  the  more  important 
ones,  and  those  which  are  most  likely  to  be  required  in 
the  average  run  of  work. 

COMMERCIAL   SIGNS. 

A  I,  The  designation  of  a  first-class  vessel,  the  letter  denoting  the  char- 
acter of  the  hull  for  build  and  seaworthiness,  and  the  figure 
that  she  is  well  found  in  rigging,  gear,  etc. 

£      (Latin  libra.)     A  pound  sterling. 

It)      (Latin  libra.)     A  pound  weight. 

$       Dollars. 

/       Shillings ;  as,  4/6  =  45.  6d. 

@    At  or  to ;  as,  Wood  at  $4  per  cord ;  Oats  47  @  48  c.  per  bushel. 

^     Per ;  as,  Rice  4C.  ^  It). 

%     Per  cent;  as,  Commission  at  2.y2%  =  3-38. 

a/c     Account ;  as,  S.  Brown  in  ajc  with  L.  A.  Roberts. 

%i^  Index. 

|     Brace. 

ACCENTS. 

r       Acute  Accent  a  e  i  6  fi 

>      Grave  Accent  a  e  1  6  u 

^      Circumflex  Accent  a  e  i  6  u 

—      The  Long,  or  Macron  a  e  I  o  u 

^       The  Short,  or  Breve  a  6  I  6  u 

Diaeresis  a  e  i  o  u 

German  and  Scandinavian-: 

A         A         O         a         a         6         u 

French  and  Spanish : 

A      g      E      i      ft      6 

£a-a,gee"eeiifn66uuiiii 

REFERENCES. 

*     Asterisk.  g  Section, 

f     Dagger,  or  Obelisk.  ||  Parallels. 

\     Double  Dagger.  ^  Paragraph. 


34  THE  PRACTICAL  PRINTER. 

ALGEBRAICAL. 

-f-  plus,  or  more,  denotes  that  the  quantity  before  which  it  is  placed  is 
to  be  added ;  as,  a  -\-  b  ;  3  +  4. 

—  minus,  or  less,  denotes  that  the  quantity  before  which  it  is  placed  is 

to  be  subtracted ;  as,  a  —  b;  3  —  2. 
X     into,  denotes,  when  placed  between  two  quantities,  that  they  are  to 

be  multiplied  together;  as,  a  X  b ;  3  X  6. 
.4-,  or :  divided  by,  denotes,  when  placed  between  two  quantities,  that 

the  one  on  the  left  is  to  be  divided  by  the  one  on  the  right ; 

as,  a -i- $ /  8-7-4;  &'•&• 

±    plus,  or  minus ;  as,  a-±b;  j/#2=  -+- a. 
~      denotes  the  difference  between  two  quantities,  without  implying 

which  is  to  be  subtracted  from  the  other ;  as,  a  ~  b. 

—  :  denotes  the  difference  or  excess. 

OC     denotes  that  one  quantity  varies  as  another ;  as,  a  OC  \,  a  varies  as  J- 

I/  radical  sign,  denotes,  when  no  number  is  written  over  the  sign, 
that  the  square  root  is  to  be  taken ;  as,  y 'a  ;  1/9. 

y£  F,  0,  functional  symbols.  A  functional  symbol  denotes  that  two  or 
more  quantities  vary  together;  as,y=f(x),  denoting  that y  is 
a  function  of  x,  or  that  there  is  a  general  relation  or  depen- 
dency of  value  between  y  and  x. 

=  sign  of  equality,  denotes  that  the  two  quantities  between  which  it 
is  placed  are  equal;  as,  a  -J-  b  =  x — y ;  8  -f-  4  =  5  -j-  7. 

>  sign  of  inequality,  denotes  that  the  quantity  placed  at  the  opening 
is  greater  than  the  one  at  the  vertex,  and  is  read  greater  than  ; 
as,  a  >  b,  i.  e.  a  greater  than  b. 

<  sign  of  inequality,  denotes  that  the  quantity  at  the  vertex  is  less 
than  the  one  at  the  opening,  and  is  read  less  than ;  as,  b<^a, 
i.  e.  b  less  than  a. 

CT"  greater  than  ;  as,  a  C""-^  i.  e.  a  greater  than  b. 

_  "i  less  than ;  as,  a.~~\  b,  i.  e.  a  less  than  b. 

-H-     geometrical  proportion ;  as,  •—  a :  b :  c :  d. 
I      denotes  that  an  integration  is  to  be  performed;  &$>,fdx. 

d,  6,  D,  A,  L,  are  symbols  variously  used  to  denote  differences,  differen- 
tials, derivatives,  or  variations. 

/    denotes  an  angle ;  as,  /__  A,  or  ^  B  A  C ;  which  is  read,  the  angle 
A,  or  the  angle  BAG. 


PECULIAR    SIGNS    USED    IN    PRINTING.  35 

&     denotes  a  triangle ;  as,  £±  BCD;  which  is  read,  the  triangle  BCD. 

[___     denotes  a  right  angle;  as,  [_B,  or  [_A  B  C. 

Q     denotes  a  square  ;  as,  Q]  A  B  C  D. 

I      I  denotes  a  rectangle ;  as,  I      |  A  B  C  D. 

O     denotes  a  circle,  or  360°. 

:£=     equivalent  to,  denotes  equivalency ;  as,  ATB  :Qr  B  D  X  B  C ;  i.  e.  a 

square  equivalent  to  a  rectangle. 
||      denotes  parallelism. 
j_    denotes  a  perpendicular. 

ASTRONOMICAL. 

Q,  or  ©  The  Sun.  €>  Moon  in  its  last  quarter. 

$  Mercury.  $  Mars. 

9  Venus.  ^  Jupiter. 

©,0,^6  The  Earth.  ^  Saturn. 

£  New  Moon.  $,  0r  g  Uranus. 

O  Moon  in  its  first  quarter.    tJJ  Neptune. 

Q,  or  ©  Full  Moon.  %  A  fixed  Star. 

MEDICAL. 
R     recipe,  or  "take."  . 

g^^This  symbol  was  originally  the  sign  2/  of  Jupiter,  and 

was  placed  at  the  top  of  a  formula  to  propitiate  the  king  of 

the  gods,  that  the  compound  might  act  favorably. 
^      a  scruple;  ^ss,  half  a  scruple;  ^i,  one  scruple;  ^iss,  one  scruple 

and  a  half;  "$\),  two  scruples,  etc. 
5      a  drachm ;  ^ss,  half  a  drachm ;  £i,  one  drachm ;  giss,  one  drachm 

and  a  half;  gij,  two  drachms,  etc. 
g      an  ounce;  ^ss,  half  an  ounce;  ^i,  one  ounce;  3iss,  one  ounce 

and  a  half;   5jij,  two  ounces,  etc. 

lb      a  pound.  f  g    a  fluid  ounce. 

1T[    a  minim,  or  drop.  O,  or  0  (  Octarius),  a  pint, 

f  ^    a  fluid  drachm.  aa  (dva),  of  each. 

SUPERIORS  AND    INFERIORS. 

CJacegikmoquy    ^  Tp-  wzJ 

^C  ajg  Agxvtrpnlshfdb     Q 

. 

1234567890 


36 


THE    PRACTICAL    PRINTER. 


FRACTIONS. 

XI/       3/        I/       2 

/       I/       3/        SA 

7/       I/ 

/z       74       73       / 

3     A     A     A 

/8       /6 

ROMAN 

NUMERALS. 

I. 

One. 

XXI. 

Twenty-one. 

II. 

Two. 

XXX. 

Thirty. 

III. 

Three. 

XL. 

Forty. 

IV. 

Four. 

L. 

Fifty. 

V. 

Five. 

LX. 

Sixty. 

VI. 

Six. 

LXX. 

Seventy. 

VII. 

Seven. 

LXXX. 

Eighty. 

VIII. 

Eight. 

xc. 

Ninety. 

IX. 

Nine. 

c. 

One  hundred. 

X. 

Ten. 

cc. 

Two  hundred. 

XL 

Eleven. 

ccc. 

Three  hundred. 

XII. 

Twelve. 

cccc. 

Four  hundred. 

XIII. 

Thirteen. 

D. 

Five  hundred. 

XIV. 

Fourteen. 

DC. 

Six  hundred. 

XV. 

Fifteen. 

DCC. 

Seven  hundred. 

XVI. 

Sixteen. 

DCCC. 

Eight  hundred. 

XVII. 

Seventeen. 

DCCCC. 

Nine  hundred. 

XVIII. 

Eighteen. 

M. 

One  thousand. 

XIX. 

Nineteen. 

MM. 

Two  thousand. 

XX. 

Twenty. 

TYPOGRAPHICAL. 

^     dele,  expunge. 

9      turn  an  inverted  letter. 

-*-*>    less  space  between  words  or  letters. 

^>     print  the  diphthong  ae  or  oe  as  a  single  character ;  thus,  ^,  ce, 

$     more  space. 

X     directs  attention  to  bad  or  foul  type. 

J^     directs  attention  to  a  space  or  quadrat  that  stands  up. 

....  placed  under  words  that  have  been  erased,  and  which  it  is  sub- 
sequently decided  shall  remain,  the  word  stet  (let  it  stand) 
being  written  in  the  margin. 

[  begin  a  new  paragraph ;  also,  bring  a  word  to  the  commencement 
of  a  line. 


PECULIAR   SIGNS   USED    IN   PRINTING.  37 

^[      begin  a  new  paragraph. 

::^=  drawn  under  words  or  letters  which  are  to  be  printed  in  capitals. 

drawn  under  words  or  letters  which  are  to  be  printed  in  small 

capitals. 

Italics,  if  drawn  under  a  word  printed  in  roman  letters;  roman 

letters,  if  drawn  under  a  word  printed  in  italics. 
&.     transpose. 
4.  c.  lower  case ; — used  when  a  letter  or  word  that  should  be  printed  in 

common  letters  has  been  put  in  capitals  or  small  capitals. 
<w/.  wrong  font; — used  when  a  character  is  not  of  the  proper  size  or 

kind  of  type. 
d.  c.,  or  </.  ca/id.  print  in  small  capitals. 

J&u.j  or  f  Query;  — used  in  any  case  of  doubt. 

Besides  making  himself  familiar  with  all  these  signs 
and  characters  the  compositor  should  know  where  they 
are  to  be  found  when  wanted.  Perhaps  this  would  be  a 
difficult  task  in  some  establishments  where  such  signs  are 
generally  thrown  into  the  spare  boxes  of  the  cap  case, 
there  being  no  proper  place  allotted  to  them.  But  this 
very  difficulty  arises  from  a  lack  of  the  knowledge  we  are 
seeking  to  impart,  and  only  further  illustrates  the  need  for 
such  instruction. 

Every  composing  room  should  contain  certain  cases 
which  are  set  apart  for  these  peculiar  signs,  and  each 
box  of  such  cases  should  be  labeled  with  the  particular 
sign  it  contains,  so  that  every  person  who  has  occasion  to 
set  out  of  it  or  distribute  into  it  should  have  no  excuse  for 
mixing. 

Very  few  employers  have  any  idea  of  the  amount  of 
time  that  is  lost  in  looking  for  peculiar  sorts  when  they 
happen  to  be  wanted,  or  else  they  would  provide  proper 
receptacles  and  insist  on  careful  distribution  of  such  sorts 
when  done  with.  But  not  only  is  there  great  loss  on 


38  THE    PRACTICAL    PRINTER. 

account  of  the  time  spent  in  finding  them,  it  should  also 
be  borne  in  mind  that  they  cost  more  to  replace  than  the 
ordinary  letters  in  a  font  in  the  event  of  their  being  lost. 

Let  each  man  and  boy  who  reads  this  determine  to 
make  himself  master  of  the  names  and  uses  of  these 
peculiar  signs,  and  he  will,  in  the  future,  have  many  occa- 
sions for  congratulating  himself  that  he  did  so.  A  little 
spare  time  spent  in  this  way  will  be  an  investment  that 
will  be  sure  to  bear  good  interest. 


TERMS   USED    IN    THE   COMPOSING   ROOM.  39 


TERMS  USED  IN  THE  COMPOSING  ROOM. 


T)EFORE  entering  upon  the  actual  work  of  composition 
\J  it  will  be  necessary  to  explain  the  terms  and  phrases 
employed  in  connection  with  the  work,  and  the  names  of 
the  implements  which  compositors  use.  It  is  true  that  if 
we  followed  the  course  pursued  by  others  who  have  pre- 
ceded us,  we  should  put  these  terms  in  the  appendix,  and 
it  is  just  possible  they  might  look  better  there  than  here. 
But  it  certainly  appears  more  logical  to  explain  the  terms 
about  to  be  used  now  than  to  use  them  and  then  explain 
their  meanings  at  the  end  of  the  book.  The  following  list 
contains  only  such  as  are  most  likely  to  be  needed : 

Ascending  letters. — Letters  that  ascend  into  the  upper  shoulders  ;  as  b, 

d,  1,  etc. 
Author's  proof. — The  proof  sent   to  an  author  after   the  compositor's 

errors  have  been  corrected. 

Author's  corrections. — The  changes  made  by  the  author  in  such  proof. 
Back  furniture. — The  piece  of  furniture  placed  between   the  pages 

which  form  the  back  fold,  as  I  and  16  or  8  and  9  in  a  sheet  of 

octavo. 

Bastard  title. — A  short  title  preceding  the  general  title  of  a  work. 
Bastard  type. — Type  with  a  face  larger  or  smaller  than   its  regular 

body  :  as  nonpareil  on  minion  body,  or  minion  on  nonpareil  body. 
Batter. — Types  injured  in  a  form  or  otherwise. 
Beard  of  a  letter. — The  outer  angles  supporting  the  face  of  a  type  and 

extending  to  the  shoulder. 


40  THE    PRACTICAL    PRINTER. 

Bevels. — Slugs  cast  type  high  with  a  beveled  edge,  used  around  pages 

to  be  stereotyped,  to  form  the  flange  on  the  side  of  the  plates. 
Binding. — This  term  is  used  when  a  type,  lead,  reglet,  piece  of  furni- 
ture, or  anything  else,  through  being  too  large,  or  being  misplaced, 

binds  against  some  other  part  in  locking  up. 

Blocks. — The  bases  on  which  electrotype  plates  are  placed  for  printing. 
Blocked  tip. — When  the  font  of  type  is  all  set,  and  none  is  available 

for  present  use. 

Bodkin. — An  awl-like  tool  used  for  correcting  errors  in  type. 
Body. — The  shank  of  a  letter. 
Body-type. — This  term  is  used  to  denote  the  class  of  type  which  is  used 

on  book  and  newspaper  work,  as  distinct  from  job  type. 
Bottled. — Type  wider  at  the  bottom  than  at  the  top. 
Boxes. — The  compartments  of  a  case  in  which  the  types  are  placed. 
Brass  rule. — Strips  of  brass  of  different  kinds  and  thicknesses,  used  in 

table  work  and  in  various  other  ways. 
Break-line. — The  last  line  of  a  paragraph. 

Broken  matter. — Pages  of  type  disrupted  and  somewhat  intermingled. 
Cabinet. — A  receptacle  for  cases,  chases,  leads,  etc. 
Case. — The  receptacle  for  type,  divided  into  numerous  compartments, 

from  which  the  compositor  sets  up  his  matter. 
Casting  off. —  Estimating  how  many  pages  a  certain  quantity  of  copy 

will  make  in  type. 
Catch-line. — This  is  a  short  line,  consisting  of  one  or  more  unimportant 

words,  placed  between  two  display  lines  in  job  composition. 
Ceriphs. — The  lines  or  cross-strokes  at  the  ends  of  the  stem  of  a  letter. 
Chase. — A  rectangular  iron  frame  in  which  pages  of  type  are  imposed 

for  printing  on  the  press. 
Clean  proof. — A  proof  containing  few  faults. 
Clearing  away. — Properly  disposing  of  materials  after  a  work  has  been 

completed. 

Close  matter. — Solid  matter  with  few  break-lines  and  no  leads. 
Composing. — Setting  type. 
Composing  rule. — A  steel  or  brass  rule  with  a  beak  at  one  end,  used  in 

typesetting. 
Composing  stick. — An  instrument  in  which  types  are  arranged  in  words 

and  lines. 


TERMS    USED    IN    THE   COMPOSING   ROOM.  41 

Correct. — A  compositor  is  said  to  correct  when  he  amends  the  faults 

marked  in  a  proof. 

Corrections. — The  alterations  or  errors  marked  in  a  proof. 
Cut-in  letter. — A  type  of  large  size  adjusted  at  the  beginning  of  the  first 

paragraph  of  a  chapter  as  an  initial  letter. 
Czit-in  note. — A  note  justified  into  the  side  of  a  page. 
Dele,  ^. — A  proofreader's  mark,  signifying  to  take  out. 
Descending  letters. — Letters  that  go  down  into  the  lower  shoulder  of 

the  body;  as  g,  j,  p,  q,  y. 

Display. — This  is  a  term  used  in  job  composition,  and  means  the  select- 
ing and  laying  out  of  type  lines  so  as  to  produce  the  best  results  or 

display. 
Distributing. — Returning  types  to  their  various  boxes  after  having  been 

printed  from. 

Double. — Words  set  up  twice  over, 
Drive  out. — To  space  widely. 
Em. — The  square  of  the  body  of  a  type, 
En. — Half  the  dimensions  of  the  preceding. 

Even  page. — The  2d,  4th,  6th,  or  any  even-numbered  page  of  a  book. 
Fat. — Poetry,  leaded  or  other  matter  which  is  easily  or  quickly  set  up. 
Folio. — The  figure  or  numeral  placed  at  the  head  or  foot  of  a  page  to 

denote  its  sequence. 
Foot-note. — A  remark  which  instead  of  being  embodied  in  the  text  is 

placed  at  the  foot  of  a  page,  with  a  reference  mark  to  connect  it 

with  the  passage  to  which  it  refers. 
Foot-sticks. — Sloping  pieces  of  furniture  placed  at  the  bottom  of  pages, 

between  which  and  the  chase  the  quoins  are  driven  to  fasten  the 

pages. 

Form. — The  pages  or  job  when  imposed  in  a  chase. 
Foul  proof . — A  proof  with  many  faults  marked  in  it. 
Furniture. — Pieces  of  wood  or  metal  used  for  dividing  pages  in  imposi- 
tion, filling  up  blank  spaces  and  in  locking  up  job  forms. 
Galley. — A  wooden  or  brass  flat  oblong  tray,  with  side  and  head  ledges, 

for  holding  type  when  composed. 
Gauge. — A  strip  of  reglet  with  a  notch  in  it,  to  denote  the  length  of  the 

pages  in  making  up. 
Get  in. — To  set  words  closely. 


42  THE    PRACTICAL    PRINTER. 

Gutter  sticks, — The  piece  of  furniture  placed  between  the  pages  in  the 

outside  fold,  as  14  and  16  or  13  and  15  in  a  sheet  of  octavo. 
Half-title. — The  title  of  a  book  inserted  in  the  upper  port'.on  of  the  first 

page  of  matter. 
Hanging. — When  a  page  is  locked  up  at  the  side  before  being  locked 

up  at  the  foot,  causing  a  crooked  appearance,  it  is  called  hanging. 
Hammering  proof. — Taking  a  proof  from  the  type  by  means  of  the 

proof  planer  and  a  mallet. 
Hanging  indention. — Where  successive  lines  are  set  in  an  em  or  more 

beyond  the  first  line. 

Head-sticks. — Furniture  put  between  the  heads  of  pages  in  imposition. 
Hell-box. — The  receptacle  for  broken  or  battered  letters ;  the  old  metal 

box ;  the  shoe. 
High  spaces  and  quads. — These  are  used  in  matter  specially  intended 

for  electrotyping  and  not  to  be  printed  from. 
Imposing. — Arranging  and  locking  up  a  form  of  type  in  a  chase. 
Imposing  stone. — The  stone  on  which  compositors  impose  and  correct 

forms. 
Imprint. — The  name  of  the  printer  or  publisher  appended  to  jobs  or 

title  pages. 

Indentation.—^^  space  placed  at  the  commencement  of  a  paragraph. 
Inferior  letters. — Small  letters  cast  near  the  bottom  of  the  line. 
Inner  form. — The  form  containing  the  second  and  third  pages  of  a 

sheet  when  imposed  in  two  chases. 
Justifying. — Spacing  out  lines  to  a  certain  measure. 
Keep  in. — To  crowd  in  by  thin  spacing. 

Kerned  letter. — Type  of  which  a  part  of  the  face  hangs  over  the  body. 
Laying  cases. — Filling  cases  with  a  font  of  new  type. 
Laying  down  pages. — Placing  pages  of  type  on  the  stone  in  proper 

order  for  imposition. 

Leaded  matter. — Matter  that  has  leads  between  the  lines. 
Leaders. — Dots  or  hyphens  placed  at  intervals  of  one  or  more  ems  in 

length  to  guide  the  eye  across  the  line  to  the  folio  in  tables  of  con- 
tents, etc. 
Leads. — Thin  strips  of  metal  cast  to  various  thicknesses,  quadrat  high, 

used  for  spacing  between  lines,  etc. 
Lean. — Close  and  solid  matter. 
Lean  type. — Thin  type. 


TERMS   USED    IN   THE   COMPOSING   ROOM.  43 

Locking  up. — Tightening  up  a  form  by  means  of  quoins. 

Long-cross. — The  bar  that  divides  a  chase  the  longest  way. 

Lower  case. — The  case  containing  the  small  letters  of  the  alphabet, 

figures,  points,  etc. 

Make-up. — To  arrange  the  lines  of  matter  into  pages. 
Make-up  rule. — A  steel  rule  with  a  projection  on  the  top  used  in  mak- 
ing up. 
Making  margin. — Arranging  the  space  between  the  pages  of  a  form  so 

that  the  margin  will  be  properly  proportioned. 
Mallet. — A  wooden  hammer. 
Matter. — Composed  type. 
Measure. — The  width  of  a  page  or  job. 
Nicks. — Hollows  cast  in  the  front  of  the  lower  part  of  the  shank  of  a 

type,  to  show  the  compositor  how  to  place  it  in  his  stick. 
Off  its  feet. — When  type  leans  in  any  direction,  causing  an  imperfect 

impression  of  its  face,  it  is  said  to  be  off  its  feet. 

Open  matter. — Matter  widely  leaded  or  containing  numerous  break- 
lines. 

Out. — An  omission  marked  in  the  proof  by  the  reader. 
Outer  form. — The  form  containing  the  first  and  last  pages  of  a  sheet 

when  imposed  in  two  chases. 

Over-running. — Carrying  words  backward  or  forward  in  correcting. 
Page- cord. — Twine  used  for  tying  up  pages. 
Pi. — Types  of  different  kinds  mixed  together. 
Picking. — Taking  letters  out  of  one  job  to  use  in  another. 
Planer. — A  smooth  block  of  wood  used  for  leveling  the   surface  of 

pages  of  type  when  imposed. 
Planing  down. — To  bring  down  types  evenly  on  their  feet  by  laying  a 

planer  on  the  page  and  striking  it  with  a  mallet. 
Proof  planer. — A  planer  covered  with  cloth,  used  for  taking  a  proof  by 

beating  with  a  mallet  instead  of  putting  on  press. 
Quadrat. — A  low   square  blank  type,  used  to  fill  up  break-lines  and 

other  spaces. 
Quirewise. — When  the  whole  of  the  pages  of  a  work  are  imposed  so  as 

to  make  but  one  section  when  folded. 
Quoins. — Small  wedges  for  locking  up  a  form.     There  are  now  many 

devices  made  of  iron  which  are  used  for  this  purpose. 


41  THE    PRACTICAL    PRINTER. 

Quotation  furniture. — Quotations  cast  to  various  sizes  in  length  and 

width,  used  for  blanking  and  as  furniture. 
Quotations. — Words  or  sentences  quoted  from  other  works  and  inclosed 

by  inverted  commas  and  apostrophes.     Large  hollow  quadrats. 
Rack. — A  receptacle  for  type  cases  when  not  in  use.     Also,  form  racks 

in  which  to  stand  forms. 
References. — Letters  or  characters  used  to  direct  the  reader's  attention 

to  notes  at  the  foot  of  a  page. 
Reglet. — Thin  furniture,  of  an  equal  thickness  all  its  length.     It  is  made 

to  match  the  depth  of  quadrat. 

Revise. — A  proof  taken  from  the  type  after  corrections  have  been  made. 
Roller. — A  wooden  cylinder  covered  with  composition,  which,  set  in  an 

iron  frame,  revolves  upon  a  rod,  and  is  used  for  inking  type. 
Running  head. — The  title  of  the  book  or  subject  placed  at  the  tops  of 

the  pages. 

Run-on. — This  term  means  that  there  is  to  be  no  paragraph. 
Runs  on  sorts. — Requiring  an  inordinate  proportion  of  particular  letters. 
Saw-block. — A  box  similar  to  a  carpenter's  miter  block,  to  guide  in 

cutting  furniture,  etc. 
Setting. — Composing. 

Shank. — The  metal  body  upon  which  the  face  of  a  letter  stands. 
Sheetwise. — When  the  pages  of  a  sheet  are  imposed  in  two  forms,  which 

are  backed  in  printing. 

Shooting-stick. — An  instrument  used  for  locking  up  a  form. 
Short-cross. — The  short  bar  which,  crossing  the  long  bar,  divides  the 

chase  into  quarters. 

Shoulder. — The  surface  of  the  shank  of  a  type  not  covered  by  the  letter. 
Side-sorts. — Types  in  the  side  and  upper  boxes  of  a  case,  consisting  of 

letters  not  frequently  used. 
Side-sticks. — Sloping  furniture  on  the  outside  of  the  pages  next  to  the 

chase,  where  the  quoins  are  inserted. 
Signature. — A  letter  or  a  figure  used  at  the  bottom  of  the  first  page  of  a 

sheet,  to  direct  the  binder  in  placing  the  sheets  in  a  volume. 
Slice-galley. — A  galley  with  an  upper  movable  bottom,  called  a  slice, 

used  for  pages  and  jobs  too  large  to  be  lifted  by  the  fingers. 
Slug. — A  thick  lead  generally  cast  to  nonpareil  or  pica  thickness. 
Sorting  pi. — Separating  different  kinds  of  types  that  may  have  got  mixed 

together. 


TERMS   USED    IN    THE    COMPOSING    ROOM.  45 

Sorts. — The  letters  in  the  several  case-boxes  are  separately  called  sorts. 

Space  rules. — Fine  lines,  cast  type  high,  and  of  even  ems  in  length,  for 
table  and  algebraical  works. 

Spaces. — Low  blank  types  used  to  separate  words. 

Squabble. — A  page  or  form  is  squabbled  when  the  letters  are  twisted 
out  of  a  square  position. 

Stand. — The  frame  on  which  the  cases  are  placed  for  composition. 

Stem. — The  vertical  strokes  of  a  type. 

Stet. — Written  opposite  to  a  word  in  a  proof  to  signify  that  the  word 
erroneously  struck  out  shall  remain. 

Stone  hand. — A  compositor  who  is  chiefly  employed  on  imposition  and 
other  work  which  is  done  on  the  stone. 

Sub. — A  compositor  occasionally  employed  on  a  newspaper  to  fill  the 
place  of  an  absentee. 

Superior  letters. — Letters  of  a  small  face  cast  near  the  top  of  the  line. 

Table  work. — Matter  consisting  chiefly  of  rules  and  figures  and  set  in 
columns. 

T"ake  or  taking. — A  given  portion  of  copy. 

Text. — The  type  which  is  used  in  the  body  of  a  book  is  called  the  text 
type. 

Turn  for  a  letter. — When  a  sort  runs  short,  a  letter  of  the  same  thick- 
ness is  substituted,  placed  bottom  upward. 

Tweezers. — Used  for  picking  out  letters  in  correcting. 

Tying-up. — Winding  page-cord  round  a  page  of  matter  before  imposing. 

Upper  case. — The  case  containing  capital  and  small  capital  letters,  frac- 
tions, etc. 

White  line. — A  line  of  quadrats. 

White  page. — A  blank  page. 

Wrong  font. — A  type  which  belongs  to  some  other  font  than  that  in 
which  it  is  found. 

Many  of  the  terms  usually  inserted  in  such  lists  as  the 
foregoing  have  been  omitted,  as  they  have  now  become 
obsolete,  and  others  of  more  modern  origin  have  been 
inserted  in  their  place. 

Besides  these,  however,  there  are  many  other  terms 
and  phrases  which,  although  not  strictly  technical,  have  a 


46  THE    PRACTICAL    PRINTER. 

special  significance  in  connection  with  the  work  of  the 
compositor.  Those  who  have  grown  old  in  the  business 
know  how  necessary  it  is  to  be  well  posted  in  all  these 
matters,  and  know  that  among  the  young  members  of  the 
craft  there  is  woful  ignorance  and  indifference  as  to  them. 

"Making  up"  and  "imposition"  are  often  used  as 
though  they  were  interchangeable  terms,  whereas  the  first 
refers  to  making  up  the  lines  of  the  book  or  job  into  a 
page  or  pages,  while  the  latter  refers  only  to  the  putting 
of  such  page  or  pages  into  chase  in  proper  order  for 
printing. 

The  young  compositor  will  find  it  advantageous  to 
study  all  these  terms  thoroughly,  not  only  because  there  is 
a  good  deal  of  information  to  be  obtained  thereby,  but 
also  because  when  he  finds  himself  among  a  body  of  com- 
positors he  will  be  expected  to  know  and  to  use  the 
correct  phraseology  in  referring  to  the  various  matters 
which  they  indicate. 

Unfortunately  there  is  a  growing  tendency  among 
young  men  to  shirk  the  thorough  mastery  of  all  these 
details.  They  are  in  such  a  hurry  to  be  proficient  that 
they  neglect  the  very  first  essentials  of  proficiency.  They 
think  they  ought  to  learn  in  six  months  what  it  took  their 
fathers  five  or  seven  years  to  learn  !  Not  so  fast,  young 
men  !  It  is  true  you  may  have  more  advantages  than  your 
fathers,  and  that  you  may  be  a  little  smarter,  but  all  the 
smartness  and  all  the  advantages  will  never  make  you 
compositors  unless  you  pass  through  the  same  routine  that 
your  fathers  did.  You  may  get  through  quicker,  but  go 
through  you  must,  or  you  will  never  be  able  to  fill  their 
places. 


COMPOSITION.  47 


COMPOSITION. 


WE  now  enter  upon  the  field  of  actual  operation, 
where  all  that  has  been  learned  up  to  the  present 
will  be  brought  into  requisition.  But  only  those  who 
have  carefully  and  earnestly  studied  the  preceding  pages 
will  be  fit  to  enter  this  field  with  any  profit  to  themselves 
or  any  likelihood  of  becoming  useful  members  of  the 
craft.  Therefore,  it  may  be  better  for  some  that  they 
should  turn  and  retrace  their  steps  over  the  ground  already 
covered,  and  come  back  to  our  present  standpoint  with 
increased  knowledge  and  better  qualifications  to  proceed. 

Composition  (or  typesetting),  while  it  is  not  a  mere 
mechanical  operation,  requires  great  dexterity  and  a  nicety 
of  application,  such  as  few  other  occupations  call  for. 
The  rapidity  with  which  a  good  compositor  can  transfer 
the  types  from  the  boxes,  wherein  they  lie  in  a  disordered 
mass,  to  the  composing  stick,  and  build  them  up  one  by 
one  into  all  kinds  of  words  and  sentences,  astonishes  a 
looker  on  who  is  not  in  the  secret. 

The  first  thing  to  be  learned  in  connection  with  com- 
position is  the  lay  of  the  cases.  This  is  called 

LEARNING   THE   BOXES, 

and  is  far  more  important  than  might  appear  at  first  sight. 
The  compositor  should  not  only  know  where  every  letter, 
figure,  point,  space,  etc.,  may  be  found,  but  should  go 


48  THE    PRACTICAL    PRINTER. 

over  the  boxes  so  frequently  and  persistently  that  he  can- 
not possibly  make  a  mistake.  Especially  is  this  important 
in  connection  with  such  types  as  are  not  frequently  used ; 
for  here,  as  elsewhere,  there  is  a  great  temptation  to  shirk 
the  thorough  mastery  of  the  necessary  details  and  only 
learn  so  much  as  appears  requisite  for  present  emergencies. 
As  before  stated,  there  are  very  few  compositors  who  have 
thoroughly  learned  all  the  boxes  in  the  upper  case,  and 
consequently  it  cannot  be  wondered  at  that  many  of  those 
boxes  are  little  else  than  receptacles  for  pi. 

Having  learned  the  boxes  thoroughly,  the  compositor 
will  proceed  to  fill  his  case  with  type  by  means  of 

DISTRIBUTION. 

This  part  of  the  work  is  of  more  consequence  than 
many  compositors  appear  to  think.  It  is  safe  to  say  that 
more  than  one  half  the  marks  made  on  proofs  are  the 
result  of  careless  distribution.  A  little  extra  time  spent 
on  this  part  of  the  work  will  be  saved  many  times  over  in 
composing  and  correcting.  It  is  better  to  be  a  little 
slower  in  putting  the  type  into  case  than  to  lose  time  by 
picking  up  the  wrong  letters,  and  having  to  change  them 
either  in  the  stick  or  after  the  proof  has  been  read. 

POSITION   OF   THE   BODY. 

This  is  a  matter  which  should  receive  careful  attention, 
not  only  because  it  materially  affects  the  amount  of  work 
which  can  be  done,  but  also  because  it  affects  the  health. 
Many  men  have  brought  on  serious  diseases  of  the  chest 
and  lungs  through  assuming  a  stooping  posture,  whereby 
these  organs  have  been  contracted  and  cramped.  The 
body  should  be  kept  erect  and  the  height  of  the  cases 
should  be  so  adjusted  as  to  conform  to  this  position. 
Sitting  should  be  avoided,  as  it  is  almost  sure  to  lead  to  a 


COMPOSITION.  49 

stooping  habit.  The  left  hand,  which  holds  the  stick, 
should  follow  and  wait  upon  the  right  hand,  which  picks 
up  the  types.  The  eyes  should  travel  a  little  ahead  of  the 
hands,  so  as  to  see  which  way  the  type  lies  in  the  boxes, 
that  it  may  be  taken  hold  of  at  once  in  the  right  manner 
and  carried  to  the  stick  with  the  nick  in  the  right  position. 
There  should  be  no  hurry,  but  every  movement  should  be 
sure,  deliberate  and  steady.  Many  compositors  have  con- 
tracted the  bad  habit  of  making  several  false  movements, 
which  are  simply  the  result  of  hurry.  Instead  of  picking 
up  a  letter  every  time  their  hand  goes  to  the  box,  they  will 
make  two  or  three  picks  instead  of  one,  and  then,  instead 
of  taking  the  type  direct  to  the  stick,  they  will  stop  to 
turn,  tap  it  on  the  center  of  their  case,  click  it  against 
their  stick,  or  use  some  other  false  motion  equally  absurd. 
The  amount  of  time  lost  in  this  way  is  very  great,  and 
those  who  wish  to  become  fast  compositors  must  avoid 
making  a  single  movement  which  is  not  necessary.  The 
man  who  makes  the  greatest  number  of  these  unnecessary 
movements  sets  the  least  number  of  types.  A  hasty  habit 
also  leads  to  other  evils,  such  as  dropping  types  which 
have  to  be  picked  up  again,  dirty  proofs  which  have  to 
be  corrected,  breaking  lines  in  spacing,  bad  justification, 
and  many  others  equally  injurious.  Boys  should  be  taught 
"  first  to  be  accurate,  then  to  be  quick.0  There  is  more 
danger  of  their  going  too  fast  than  going  too  slow.  Speed 
will  almost  invariably  follow  a  slow,  careful  beginning, 
but  will  never  be  acquired  where  careless  haste  is  allowed 
to  become  a  habit. 

JUSTIFICATION 

is  another  part  of  the  process  which  can  be  performed 
in  such  a  manner  as  to  materially  affect  the  amount  of 
work  done.  The  time  spent  in  justification  by  different 


50  THE    PRACTICAL    PRINTER. 

compositors  varies  considerably.  Some  acquire  the  habit 
of  looking  ahead  and  apportioning  a  certain  quantity  of 
their  copy  to  fill  the  line.  This  is  not  so  difficult  as  it 
might  at  first  appear.  After  a  little  practice  it  will  be  found 
easy  to  see  before  half  the  line  is  set  up  what  number  of 
words  will  be  required  for  the  balance.  A  good  com- 
positor will  thus  often  avoid  having  to  change  more  than 
two  or  three  spaces  to  justify  his  line,  whereas  a  careless 
one  will  have  twice  the  number  to  change,  and  spend  twice 
the  time  over  it.  But  not  only  does  justification  affect  the 
number  of  ems  that  can  be  set  up,  it  also  affects  the  value 
of  the  matter  after  it  is  set  up.  Badly  justified  matter  may 
cost  more  in  the  shape  of  time  lost  in  handling  it,  or 
through  letters  drawing  out  after  it  is  on  the  press,  or 
working  off  its  feet,  than  it  cost  to  set  up  originally. 
Every  line  should  be  made  exactly  the  same  length.  It 
is  a  bad  practice  to  justify  lines  so  tightly  that  the  last 
space  inserted  has  to  be  pushed  down  with  another  type. 
The  lines  should  be  just  tight  enough  to  hold  themselves 
in  the  stick  firmly,  supposing  the  stick  should  be  turned 
upside  down.  It  will  often  happen  that  in  the  setting  of 
a  line  the  types  may  lean  a  little  to  one  side,  and  unless 
properly  adjusted  will  appear-  off  their  feet  when  printed. 
A  careful  compositor  will  never  allow  such  a  thing  to  hap- 
pen, as  he  will,  by  the  aid  of  his  left  thumb,  take  care  that 
every  letter  is  made  to  stand  perfectly  upright  before  he 
tightens  his  line. 

EVEN   SPACING. 

Besides  the  spacing  out  which  is  called  for  in  justifying 
the  lines,  there  is  another  and  perhaps  more  important 
phase  of  this  subject,  and  that  is  spacing  evenly  between 
the  several  words  which  go  to  make  up  a  line.  There  are 
certain  rules  which  it  would  be  well  for  compositors  to 


COMPOSITION.  51 

observe  at  all  times,  no  matter  what  kind  of  composition 
they  may  be  engaged  upon.  We  will  just  enumerate  a  few 
of  these  : 

First.  All  matter  which  is  leaded  should  be  more 
widely  spaced  than  solid  matter,  and  this  increase  in  the 
width  of  spacing  should  be  regulated  by  the  amount  of 
space  put  between  the  lines  —  whether  one  lead,  two  leads, 
three  leads  or  more.  Nothing  looks  more  unsightly  than 
solid  matter  with  square  pigeon  holes  between  the  words, 
unless  it  be  double  or  treble  leaded  matter  with  only  thick 
or  thin  spaces. 

Second.  The  spacing  should  be  uniform,  not  only 
between  the  different  words  contained  in  a  line,  but 
between  the  whole  of  the  words  contained  in  a  whole 
page,  or  the  whole  job.  A  very  common  error  is  to  put 
thick  spaces  through  the  last  line  of  a  paragraph,  no  matter 
what  the  spacing  of  the  previous  line  may  be.  This  error 
is  not  only  one  of  the  commonest,  but  is  one  of  the  most 
easily  remedied.  Let  the  compositor  only  bear  this  point 
in  mind,  and  he  will  naturally  space  the  last  line  with 
either  thick  spaces,  en  spaces,  or  whatever  is  called  for. 
Then,  in  order  to  give  the  spacing  a  uniform  appearance, 
it  may  be  necessary  to  vary  the-  spacing  according  to  the 
shape  of  the  letter  with  which  a  word  begins  or  ends. 

Third.  The  indentation  of  a  paragraph  should  also  be 
regulated  by  the  amount  of  space  to  be  put  between  the 
lines.  Where  a  one  em  indentation  would  be  all  right  for 
solid  matter,  it  would  not  look  well  for  widely  spaced 
lines;  in  that  case  it  would  be  better  to  indent  two  or 
even  three  ems,  according  to  the  width  of  the  column 
or  page.  Even  in  the  case  of  solid  matter,  the  indenta- 
tion of  the  paragraph  should  depend  on  the  length  of  the 
line. 


52  THE    PRACTICAL    PRINTER. 

Irregular  spacing  arises  from  carelessness  as  often  as 
from  a  desire  to  pick  up  more  types.  Of  course  where  a 
man  is  engaged  on  piecework  there  is  a  strong  temptation 
to  rush  the  types  together,  and  on  newspaper  work  it  does 
not  much  matter,  though  even  then  a  good  compositor 
will  pay  some  regard  to  his  spacing,  and  not  lose  much 
time  on  it  either.  But  on  book  or  magazine  work  the 
spacing  should  be  carefully  done,  and  no  man  who  prides 
himself  on  his  ability  will  neglect  this  important  point. 
Let  a  man  once  make  up  his  mind  to  space  evenly,  and  he 
will  soon  acquire  the  habit  of  doing  it  all  the  time,  and 
will,  by  looking  a  little  ahead,  learn  to  do  it  without  loss 
of  time. 

DIVISIONS. 

In  connection  with  spacing  must  be  mentioned  the 
dividing  of  words  at  the  ends  of  lines.  Though  it  may 
not  be  easy  to  avoid  the  division  of  words  altogether,  and 
while  it  may  be  true  that  a  bad  division  is  better  than  bad 
spacing,  yet  it  is  nevertheless  true  that  a  great  many  very 
ugly  and  unnecessary  divisions  are  made  for  the  want  of  a 
little  forethought  and  care.  Some  of  them  are  wholly 
inexcusable,  and  are  sufficient  of  themselves  to  condemn  a 
man  as  an  incompetent  workman.  The  writer  can  remem- 
ber when,  as  a  young  man,  engaged  on  bookwork,  he  had 
great  trouble  in  correcting  such  mistakes.  The  proof- 
reader would  think  nothing  of  making  a  "  ladder  "  nearly 
the  whole  length  of  a  page,  in  order  to  correct  one  bad 
division  and  to  avoid  irregular  spacing,  until  the  end  of  a 
paragraph  was  reached.  Then  the  division  of  a  word  was 
seldom  allowed  at  all  if  it  could  possibly  be  avoided,  but 
if  allowed,  could  only  be  so  in  certain  forms.  In  the  case 
of  one  very  particular  and  expensive  work  there  was  not  a 
single  division  through  the  whole  of  its  three  hundred  pages. 


COMPOSITION.  53 

How  was  it  done?  Well,  it  was  not  so  very  difficult  a 
matter.  The  measure  was  wide,  and  we  had  to  go  back 
sometimes  and  drive  out  or  get  in  a  word,  but  always 
observing  the  necessity  for  uniformity  of  spacing.  About 
that  time  there  had  been  a  composing  machine  placed 
upon  the  market,  and  a  committee  of  about  a  dozen  were 
deputed  to  meet  the  inventor  and  take  into  consideration 
the  practicability  of  such  a  machine.  After  careful  and 
painstaking  examination  we  came  to  the  unanimous  con- 
clusion that  the  time  occupied  in  taking  up  the  long  lines 
which  were  set  by  the  machine  and  putting  them  through 
the  composing  stick,  properly  spacing  and  justifying  them, 
took  so  much  time  as  to  almost  neutralize  any  advantage 
there  might  otherwise  be  gained.  The  inventor  tried  to 
persuade  us  that  the  time  required  for  such  spacing  and 
justifying  in  the  ordinary  method  of  composing  was  con- 
siderable, and  in  fact  did  not  differ  much  from  that 
required  in  the  case  of  matter  set  up  by  his  machine.  But 
one  of  our  number  took  up  a  stick  in  the  ordinary  way 
and  set  up  for  about  half  an  hour,  and  by  looking  ahead 
and  arranging  his  words  to  suit  his  lines  the  justifying  took 
so  little  time  that  it  could  scarcely  be  taken  account  of, 
he  only  having  two  or  three  spaces  to  change  in  any  one 
line;  and  when  a  proof  was  taken  it  was  found  to  be  free 
from  errors,  with  only  one  division  and  the  spacing  uniform. 

CLEAN   PROOFS. 

A  clean  proof  is  one  of  the  most  unmistakable  signs  of 
a  good  compositor,  for  no  matter  what  else  a  man  may 
excel  in,  unless  he  has  clean  proofs  his  worth  as  a  com- 
positor is  greatly  decreased.  Generally  speaking,  a  dirty 
proof  (like  many  other  defects)  is  simply  the  result  of 
carelessness.  Let  a  man  aim  at  producing  a  clean  proof 
and  he  will  be  careful  in  his  distribution,  will  read  his 


54  THE    PRACTICAL    PRINTER. 

copy  so  as  to  catch  the  sense  of  what  he  is  setting  up,  and 
will  read  over  his  lines  before  justifying.  A  dirty  proof 
is  not  only  a  disgrace  to  a  man,  but  is  a  positive  loss  to 
him  and  to  his  employer,  for  not  only  is  his  time  wasted 
in  corrections,  but  the  proofreader's  time  is  wasted  in 
marking  and  revising.  And  yet  how  often  do  we  hear 
a  compositor  trying  to  excuse  himself  when  a  mistake  has 
been  allowed  to  pass,  by  blaming  the  proofreader,  instead 
of  taking  the  whole  blame  upon  himself,  where  it  rightly 
belongs ! 

In  this  connection  it  will  be  well  to  consider  another 
very  important  part  of  the  compositor's  work,  namely, 

CORRECTING. 

A  great  deal  of  time  may  be  saved  by  going  the  right 
way  to  work  in  correcting  a  proof.  If  the  matter  be  still 
on  the  galley,  the  quoins  should  be  slightly  loosened  (not 
taken  out)  so  that  the  lines  can  be  lifted  up  easily.  Where 
there  are  wrong  letters  to  be  changed,  it  is  a  good  plan  to 
gather  up  all  the  letters  required  and  hold  them  between 
the  thumb  and  first  finger  of  the  left  hand,  and  then  to  lift 
the  whole  line  in  which  the  correction  has  to  be  made 
sufficiently  high  so  that  with  the  right  hand  the  wrong 
letters  may  be  taken  out  and  the  proper  ones  inserted.  In 
order  to  do  this  the  compositor  should  place  himself  with 
his  right  side  next  the  stand  on  which  his  galley  rests,  and 
lean  over  so  that  he  can  read  the  matter  from  the  head, 
just  as  he  does  when  the  lines  are  in  the  stick.  He  should 
then  begin  to  correct  from  the  top  of  the  galley,  and  work 
down  to  the  bottom.  Where  the  thickness  of  the  letter 
which  has  to  be  put  in  varies  from  that  which  has  to  be 
taken  out,  some  of  the  spaces  must  be  changed  so  as  to 
allow  for  the  difference.  Where  there  are  "outs"  01 


COMPOSITION.  55 

"  insertions, "  it  is  better  to  leave  them  till  the  wrong 
letters  are  all  changed,  and  then  lift  out  so  many  lines 
as  are  likely  to  be  affected  by  the  insertion  or  omission. 
If  several  lines  have  to  be  over-run  they  should  be  placed 
on  another  and  smaller  galley,  and  be  turned  round  so 
that  the  first  line  will  take  the  place  of  the  last.  By  this 
means  the  beginning  of  the  first  line  is  brought  outside,  so 
that  it  is  easy  to  take  up  and  pass  the  words  through  the 
stick.  In  no  case  should  the  lines  be  spread  out  along  the 
galley,  or,  as  is  often  done,  laid  along  the  lower  side  of 
the  boxes  in  the  case. 

Should  the  matter  have  to  be  corrected  in  the  form, 
the  same  general  course  should  be  pursued,  except  that  it 
may  be  necessary  to  use  a  bodkin,  though  this  should  be 
avoided  where  possible,  as  the  type  is  liable  to  get  dam- 
aged thereby;  but  tweezers  should  never  be  used,  as  they 
are  almost  sure  to  injure  the  type.  Sometimes  when  cor- 
recting in  the  form  a  page  may  be  "squabbled"  on 
account  of  the  quoins  being  too  loose  and  the  matter 
receiving  too  much  pressure  in  a  certain  part.  Where 
this  occurs,  it  is  a  good  plan  to  walk  away  for  a  few  min- 
utes, until  any  nervousness  which  it  may  have  occasioned 
has  passed  off,  and  then  to  come  back  and  observe  care- 
fully where  the  "squabble"  has  its  start.  It  may  then 
happen  that  by  putting  one  or  two  letters  into  their 
right  places  the  whole  can  be  brought  into  proper  shape, 
whereas  if  it  were  undertaken  hurriedly  the  trouble  might 
only  be  made  worse. 

The  following  reduced  facsimile  of  a  "dirty  proof'1 
will  be  useful  to  many,  as  it  contains  all  the  marks 
which  are  usually  made  by  proofreaders,  and  by  compar- 
ing it  with  the  piece  of  corrected  matter  which  follows, 
the  meaning  of  these  marks  will  be  easily  learned : 


56 


THE    PRACTICAL    PRINTER. 


^«.C»         Sjaeajg  the  speech,  I  pray  you,  as  I  pronounced  it  to  you, 
7      trippingly  on  the  tongue/  but,  if  you  mouth^  it,  as  many' 
^)        o£  our  plaXers  do,  1  had  as  lief  the  Town  crier  spoke  my 
J£.    lines.    Nor,  dojipt  saw  the  air  too  mnck  with  your  hand, 
fhusf  but  use  all  gently;  for,  in  the  very  torent,  tempest, 
and,  as  I  may  say,  •\diirl\vind_  of  your  passion,  you  must 
acquire  a  temperance  that  nrny  give  it  smoothies. 

X)/  it  offends  me  to  the  soul  to  hear  a  periwig-pated 
robustious    fellow    tear^    tattel^a^passiori^—  to   very 
rags,— to   .*eu4   the    ears    of    the    groundlings,  who,    for 
most  part,  are  capjfble  of  nothing  but  inevitable  dwftk 
"O    show  and  noise/     I  would  have  such    a  fellow  whipped 
it        for  o^rdoing  .termagant ;  it  out-Herods  Herod,  /  Pray  you 
[0#Ar  avoid   it.  /Be   not   too    tame,   richer,  but  let  your  own  f 

discretion  be  your  tutor ;  suit  the  action  to  the  wordy^vith 
fo     fhis  special  observ|nce,  that  you  o'erstep  not  1 

of  Nature ;  for  any  thing  BO  overdone  is  frojn^the  purpose 


of   playing,  -whose  end,  both   at  the  fi^st  and  now,  was 

and   is,  to  hold,  as  'twere^  the  mirror  up  to  nature ;  to  &i&* 

"show  Virtue  her  owa  feature,  Scorn  "her  own  picture,  and /twg*. 

"the  -very  age  and  body  of^  Jlhe^/time,^^^  form  and 


COMPOSITION. 


HAMLET'S  ADVICE  TO  THE  PLAYERS. 

SPEAK  the  speech,  I  pray  you,  as  I  pronounced  it  to  you, 
trippingly  on  the  tongue ;  but,  if  you  mouth  it,  as  many 
of  our  players  do,  I  had  as  lief  the  town  crier  spoke  my 
lines.  Nor,  do  not  saw  the  air  too  much  with  your  hand, 
thus  :  but  use  all  gently  ;  for,  in  the  very  torrent,  tempest, 
and,  as  I  may  say,  whirlwind  of  your  passion,  you  must 
acquire  a  temperance  that  may  give  it  smoothness.  O  !  it 
offends  me  to  the  soul  to  hear  a  periwig-pated  robustious 
fellow  tear  a  passion  to  tatters, —  to  very  rags, —  to  split  the 
ears  of  the  groundlings,  who,  for  most  part,  are  capable  of 
nothing  but  inevitable  dumb  show  and  noise.  I  would 
have  such  a  fellow  whipped  for  o'erdoing  Termagant;  it 
out-Herods  Herod.  Pray  you  avoid  it. 

Be  not  too  tame,  neither,  but  let  your  own  discretion  be 
your  tutor;  suit  the  action  to  the  word,  the  word  to  the 
action,  with  this  special  observance,  that  you  o'erstep  not 
the  modesty  of  Nature ;  for  any  thing  so  overdone  is  from 
the  purpose  of  playing,  whose  end,  both  at  the  first  and 
now,  was  and  is,  to  hold,  as  'twere,  the  mirror  up  to 
Nature  :  to  show  Virtue  her  own  feature,  Scorn  her  own 
image,  &nd  the  very  age  and  body  of  the  time,  his  form  and 
pressure. 

Shakespeare. 


58  THE    PRACTICAL    PRINTER. 

JOBWORK. 

There  is  no  part  of  our  business  which  is  so  difficult  to 
explain,  or  to  teach  by  written  instructions,  as  that  of  job 
composition.  So  much  depends  upon  personal  aptitude, 
good  taste,  and  the  faculty  of  grouping  the  types  so  as  to 
produce  a  harmonious  effect.  There  are,  however,  many 
points  on  which  it  will  be  well  to  touch. 

The  selection  of  suitable  faces  of  types  is  of  first 
importance.  There  are  some  types  which  seem  to  be  just 
made  for  certain  classes  of  work  that  would  be  entirely 
out  of  place  if  used  on  others.  In  selecting  types  the 
compositor  must  .be  guided  by  the  nature  of  the  business 
or  profession  of  the  customer. 

For  lawyers,  doctors,  schools  and  institutions,  small 
plain  faces  are  most  suitable. 

For  companies,  corporations  and  state  work,  larger 
plain  faces  will  be  more  appropriate. 

For  wholesale  mercantile  houses,  good,  substantial, 
well-formed  faces,  with  just  enough  ornamentation  to  give 
them  style,  should  be  used  \  or  some  lines  of  script  may  be 
introduced  to  advantage. 

Retail  tradesmen  mostly  prefer  showy,  ornamental 
faces,  with  curves,  panels,  and  perhaps  cuts  which  illus- 
trate some  portion  of  their  business. 

Church  and  other  religious  work  calls  for  old  English 
texts  and  other  ecclesiastical  faces,  of  which  there  are 
many  series. 

But  in  every  case  it  must  be  borne  in  mind  that  legi- 
bility is  of  more  consequence  than  the  most  artistic 
arrangement  or  fanciful  design.  Where  both  can  be 
obtained,  of  course,  it  is  all  right,  but  too  often  the  former 
is  sacrificed  for  the  latter.  There  are  plenty  of  good 
readable  faces  that  have  style  and  finish,  and  these  should 


COMPOSITION.  59 

be  chosen  rather  than  those  which  have  only  their  flour- 
ishes to  recommend  them.  An  inferior  workman  will 
often  try  to  cover  up  his  deficiency  by  using  the  most 
fanciful  types,  but,  alas  !  he  only  makes  more  manifest  the 
poverty  of  his  ideas. 

The  next  point  to  consider  is  the  proper  arrangement 
of  the  types  so  as  to  produce  harmony  and  effectiveness. 

In  order  to  arrive  at  a  proper  result,  the  sizes  of  the 
types  and  the  lengths  of  the  lines  must  be  taken  into 
account.  In  the  setting  up  of  a  business  card,  billhead, 
circular,  etc.,  the  customer's  name,  business  and  address 
are  the  three  most  important  points  to  bring  out.  These 
can  each  be  made  equally  prominent  without  using  exactly 
the  same  size  qf  type.  A  small  line  may  be  made  just  as 
legible  as  a  large  one  by  being  a  little  heavier  in  face,  or 
being  placed  in  contrast  with  the  still  smaller  types  that 
are  near  it.  Then  the  length  of  the  line  has  much  to  do 
with  its  prominence.  But  where  all  the  types  are  about 
the  same  size,  and  all  the  lines  about  the  same  length,  the 
result  is  that  there  is  too  much  of  a  sameness,  and  nothing 
stands  out  distinctly. 

Further  on  will  be  shown  some  specimens  of  job  com- 
position, which  it  is  hoped  will  be  of  service  in  conveying 
correct  ideas  on  this  subject,  and  those  who  desire  to  learn 
or  to  improve  their  knowledge  will  do  well  to  study  all  the 
,  different  styles  there  shown. 

Spacing  has  a  great  deal  to  do  with  the  production  of 
a  good  piece  of  job  composition.  There  should  always  be 
plenty  of  space  between  the  words,  and  sometimes  between 
the  letters,  where  it  is  necessary  to  increase  the  length  of 
the  line.  Then  the  spacing  between  the  lines  is  even  more 
important.  Very  few  men  appear  to  know  how  to  do  this 
spacing  out.  The  correct  rule  is  to  put  more  space  between 


60  THE    PRACTICAL    PRINTER. 

long  lines  than  short  ones,  and  where  catch  lines  occur 
(that  is,  such  words  as  "of,11  "the,"  "and,"  "by,"  when 
standing  alone)  the  space  put  each  side  of  them  should  only 
be  one-half  of  what  would  be  put  between  the  longer  and 
more  important  lines. 

Where  dashes  are  placed  between  certain  of  the  lines, 
it  is  better  to  vary  the  space  each  side  of  them  than  to 
make  such  space  uniform.  For  instance,  where  a  dash  is 
put  each  side  of  a  line,  it  is  better  to  let  them  be  closer  to 
the  top  and  bottom  of  that  line  than  they  are  to  the  next 
lines  on  either  side,  which  gives  the  line  the  appearance  of 
being  inclosed  between  two  dashes. 

A  brass  rule  run  close  up  under  a  line,  or  within  a  lead 
of  it,  will  give  that  line  prominence  and  add  to  the  effect- 
iveness of  the  display. 

Large  initials  may  be  used  with  advantage,  but  should 
never  be  put  at  the  beginning  and  end  of  a  line,  except  it 
be  in  the  case  of  large  poster  work. 

Where  a  large  amount  of  matter  has  to  be  put  into  a 
small  space,  it  is  best  to  set  up  all  the  small  or  body  type 
first,  and  then  to  devote  the  balance  of  the  space  to  such 
lines  as  may  have  to  be  displayed,  always  bearing  in  mind 
that  the  greater  the  contrast  between  the  body  of  the 
job  and  such  display,  the  more  striking  and  satisfactory 
will  the  whole  appear. 

In  show  printing,  where  large  bills  have  to  be  set  up,  it 
is  better  to  lay  out  the  most  important  lines  first,  and  then 
work  to  them.  This  remark  will  apply  to  any  other  large 
work  where  there  is  plenty  of  space  allowed. 

TABLE   WORK. 

This  is  another  part  of  the  compositor's  work  which 
calls  for  special  and  careful  training.  There  are  com- 
paratively few  men  who  may  be  called  good  table  hands. 


COMPOSITION.  61 

Some  have  never  set  a  piece  of  table  matter  in  their  lives, 
and  would  never  dream  of  attempting  such  work;  and  so 
they  remain  ignorant  of  one  of  the  nicest  of  all  the 
compositors'  accomplishments. 

Of  course  there  are  tables  and  tables ;  some  of  them, 
perhaps,  not  deserving  the  name.  But  to  know  how  to 
take  a  piece  of  manuscript  copy,  which  has  been  drawn 
up  without  regard  to  what  space  it  has  to  fill,  and  to 
cast  it  off  so  as  to  make  it  a  certain  size,  and  to  arrange 
all  the  columns  and  heads  in  proper  proportions,  is  an 
accomplishment  which  any  compositor  may  well  be 
proud  of. 

Those  who  have  carefully  studied  the  sizes  and  propor- 
tions of  types  will  have  a  great  advantage  over  those  who 
have  not,  as  a  great  deal  depends  upon  accuracy  of 
measurement.  A  piece  of  table  work  which  looks  well  on 
the  galley  may,  when  put  on  the  stone  and  locked  up, 
refuse  to  go  further.  If  all  the  calculations  as  to  justifica- 
tion have  not  been  accurately  made,  it  will  not  lift,  and 
may  take  the  man  as  long  to  remedy  the  evil  as  it  would 
have  taken  another  man  to  set  it  up  properly  in  the  first 
instance. 

When  commencing  a  piece  of  table  work  it  is  well  to 
move  slowly.  It  should  be  carefully  cast-off  to  find  what 
sized  type  it  will  be  necessary  to  use ;  and  each  column 
should  have  its  proper  width  in  ems  marked.  Where  there 
can  be  any  doubt  as  to  whether  some  words  or  figures  will 
come  in  to  any  given  space,  it  is  better  to  set  them  up  and 
make  sure.  Guessing  will  not  do.  The  man  who  spends 
a  proper  amount  of  time  in  making  these  preparations  will 
have  his  work  finished  before  the  man  who  neglects  the 
precaution ;  although  at  first  it  may  appear  that  the  latter 
is  half  finished  before  the  former  starts. 


62  THE    PRACTICAL    PRINTER. 

Where  there  are  several  columns  which  contain  only  - 
figures,  it  is  better  to  set  them  in  long  lines  than  to  set 
one  column  at  a  time.  The  number  of  ems  of  each 
column  should  be  added  together,  and  the  stick  made 
up  to  that  number  of  ems.  For  instance,  suppose  there 
are  ten  columns,  and  that  their  widths  in  brevier  (or  what- 
ever type  the  table  is  being  set  in)  are  3^,  4,  4,  4,  2^, 
3,  5,  2,  4,  3  ems  respectively,  the  stick  should  be  made 
up  to  35  ems  of  that  sized  type.  A  line  of  quadrats 
should  then  be  set  right  across,  divided  according  to  the 
various  widths  of  the  columns.  It  will  then  be  easy  to 
set  the  figures  in  one  line  and  yet  keep  them  in  proper 
position  in  their  respective  columns.  After  this,  the  rules 
can  easily  be  inserted  by  opening  up  a  space  between  the 
columns  with  a  knife  or  piece  of  brass  rule. 

Space  should  always  be  allowed  between  the  type  and 
the  rules.  In  the  columns  there  should  be  at  least  an  en 
space  on  either  side,  with  an  em  at  top  and  bottom.  In 
the  heads  the  same  rule  should  be  observed,  though  there 
may  be  more  reason  for  departing  from  it  in  the  case  of  a 
large  number  of  words  having  to  be  crowded  into  a  small 
space,  as  often  happens. 

The  type  used  for  heads  should  be  about  two  sizes 
smaller  than  that  of  the  body,  where  it  can  be  so  arranged. 

If  the  rules  have  to  be  cut,  great  care  is  needed  in 
getting  just  the  proper  length,  for  if  they  are  too  short 
they  will  not  look  well,  and  if  too  long  the  table  will  not 
lift.  The  face  of  the  rule  should  be  dressed,  so  as  to  avoid 
a  curl  on  the  end. 

MAKING  UP. 

By  this  term  is  meant  making  up  into  pages  matter  that 
has  been  composed  for  book  or  pamphlet  work.  As  a  rule 
pages  are  made  one-half  longer  than  their  width.  If  a 


COMPOSITION.  63 

page  be  twenty  ems  wide  it  ought  to  be  thirty  ems  long, 
without  the  folio.  Of  course  this  proportion  cannot 
always  be  strictly  adhered  to,  but  will  serve  as  a  good 
basis  for  calculation. 

Before  the  make-up  is  begun  a  gauge  should  be  cut  to 
mark  the  length  of  page.  A  piece  of  reglet  with  a  notch 
cut  into  it  will  serve  the  purpose  very  well.  Then  the 
matter  should  be  roughly  measured  off  to  see  whether  there 
are  likely  to  be  any  bad  divisions. 

There  are  certain  laws  with  regard  to  this  part  of  the 
work  which  must  on  no  account  be  violated.  The  last 
line  of  a  paragraph  must  not  be  turned  on  to  the  top  of  a 
page,  nor  must  one  line  of  a  paragraph  be  allowed  to  stand 
at  the  foot  of  a  page,  if  it  be  possible  to  avoid  it.  By  keep- 
ing a  look-out  ahead  these  difficulties  can  be%  usually 
avoided,  but  it  may  sometimes  be  necessary  to  "get  in" 
or  "  drive  out"  a  line. 

The  first  page  of  a  chapter  or  section  should  be  sunk 
about  one-fourth  the  depth  of  an  ordinary  page ;  that  is,  if 
the  length  of  the  pages  be  thirty  picas,  such  first  pages 
should  be  begun  about  seven  picas  from  the  top. 

Where  a  chapter  ends  below  the  middle  of  a  page  it  is 
better  to  begin  the  next  chapter  on  a  new  page  rather 
than  to  crowd  the  heading  and  have  just  a  few  lines  at  the 
foot  of  a  page. 

Where  there  are  running  heads  to  the  pages  they 
should  be  set  either  in  even  small  capitals  or  in  italics, 
and  the  space  under  them  should  be  equal  to  one  line  of 
the  type. 

Where  there  are  cross-headings  occurring  in  the  body 
of  the  pages,  such  headings  should  be  a  little  more  promi- 
nent than  the  rest  of  the  page,  and  should  have  about 
twice  as  much  space  before  them  as  after  them,  so  that 


64  THE    PRACTICAL    PRINTER. 

if  there  were  a  nonpareil  after  there  should  be  at  least  a 
pica  before  them. 

Great  care  should  be  taken  to  secure  uniformity  in  the 
length  of  the  pages,  otherwise  there  will  be  trouble  when 
the  pages  come  to  be  imposed..  The  lines  should  be 
pressed  close  together  with  the  fingers,  and  examined  to 
find  whether  they  may  not  be  off  their  feet,  for  unless  they 
stand  perfectly  upright  there  will  be  a  variation  in  length 
of  page. 

In  tying  up  the  pages  care  must  be  taken  that  the  cord 
is  placed  about  the  center  of  the  type  and  that  the  end  is 
so  placed  as  to  be  easily  drawn  out  for  untying. 


IMPOSITION.  65 


IMPOSITION. 


n^HE  subject  of  imposition  next  claimsour  attention,  and 
I  will  be  found  worthy  of  careful  study.  Unfortunately, 
it  is  but  little  understood,  and,  like  table-work,  it  is  often 
avoided  as  something  not  necessary  and  requiring  too 
much  study  to  learn. 

However,  every  compositor  should  know  how  to  impose 
a  form  of  type  or  lay  down  a  sheet  of  plates,  and  those  who 
do  not  are  considered  incompetent  workmen.  A  careful 
study  of  the  following  diagrams  will  overcome  the  diffi- 
culty, and  a  little  practice  will  soon  make  perfect. 

The  first  thing  to  learn  is  how  to  lay  down  the  pages 
or  plates  so  that  they  will  back  properly  in  printing, 
and  the  next  is  to  put  the  proper  space  between  the 
pages  so  as  to  secure  the  correct  margin  when  printed 
and  trimmed. 

By  referring  to  the  diagrams  it  will  be  noticed  that  the 
first  page  of  every  imposition  is  placed  at  the  nearest  left- 
hand  corner,  with  the  foot  of  the  page  outward.  There 
are  some  exceptions  to  this  rule,  where  it  is  desired  to  com- 
mence from  the  center  in  order  to  bring  some  lighter  pages 
of  matter  in  the  middle  of  the  form,  and  the  more  solid 
pages  on  the  outside.  But  in  every  case  the  first  page 
must  be  placed  with  the  foot  facing  in  this  direction,  and 


60  THE    PRACTICAL    PRINTER. 

always  to  the  left  of  the  page  alongside,  it.  It  will  be 
noticed  also  that  the  odd  and  even  pages  always  occupy 
the  same  relative  position,  that  is,  the  odd  page  to  the  left 
and  the  even  page  to  the  right  when  looked  at  from  the 
foot  of  the  page.  If  this  be  borne  in  mind  it  will  save  many 
mistakes  that  might  otherwise  arise. 

Another  point  having  the  same  general  application  is 
that  the  folios  of  the  two  pages  which  stand  alongside  of 
each  other,  when  added  together,  will  make  just  one  more 
than  the  number  of  pages  in  the  sheet.  As  in  a  sheet  of 
quarto,  i  and  8  make  9,  so  do  2  and  7,  3  and  6,  4  and  5, 
and  in  every  other  sheet  of  whatever  number  of  pages  the 
same  rule  applies. 

Sheet  work  is  imposed  in  two  forms,  one  is  called  the 
outer  form  (containing  the  first  page  and  all  pages  which 
print  on  the  outside  of  the  sheet)  and  the  other  is  called 
the  inner  form  (containing  the  second  page  and  all  the 
other  pages  which  print  on  the  inside  of  the  sheet). 

Half-sheet  work  is  imposed  in  one  form  which  backs 
itself  and  is  then  cut  through  the  middle,  each  half  being 
a  perfect  sheet.  As,  for  instance,  half  a  sheet  of  sixteens 
when  backed  and  cut  through  makes  two  sheets  of  octavo. 

A  great  many  printers  appear  to  be  in  error  regarding 
the  proper  names  of  some  of  the  sheets  of  imposition,  some 
calling  a  sheet  containing  twelve  pages  "a  sheet  of 
twelves,"  or  a  form  containing  sixteen  pages  "a  sheet 
of  sixteens,"  and  so  on.  For  the  sake  of  such,  a  complete 
list  is  here  given  : 

A  sheet  of  folio  contains  four  pages. 

A  sheet  of  quarto  contains  eight  pages. 

A  sheet  of  octavo  contains  sixteen  pages. 

A  sheet  of  twelves  contains  twenty- four  pages. 

A  sheet  of  sixteens  contains  thirty-two  pages. 


IMPOSITION.  67 

A  sheet  of  eighteens  contains  thirty-six  pages. 

A  sheet  of  twenties  contains  forty  pages. 

A  sheet  of  twenty-fours  contains  forty-eight  pages. 

A  sheet  of  thirty-twos  contains  sixty-four  pages. 

A  sheet  of  thirty-sixes  contains  seventy-two  pages. 

A  sheet  of  forties  contains  eighty  pages. 

A  sheet  of  forty-eights  contains  ninety-six  pages. 

A  sheet  of  sixty-fours  contains  one  hundred  and  twenty- 
e'ight  pages. 

A  half  sheet  of  quarto  contains  four  pages. 

A  half  sheet  of  octavo  contains  eight  pages. 

A  half  sheet  of  twelves  contains  twelve  pages. 

A  half  sheet  of  sixteens  contains  sixteen  pages. 

A  half  sheet  of  eighteens  contains  eighteen  pages. 

A  half  sheet  of  twenties  contains  twenty  pages. 

A  half  sheet  of  twenty-fours  contains  twenty-four  pages. 

A  half  sheet  of  thirty-twos  contains  thirty-two  pages. 

A  half  sheet  of  thirty-sixes  contains  thirty-six  pages. 

A  half  sheet  of  forties  contains  forty  pages. 

A  half  sheet  of  forty-eights  contains  forty-eight  pages. 

A  half  sheet  of  sixty-fours  contains  sixty-four  pages. 

In  the  following  diagrams  it  has  not  been  thought 
necessary  to  illustrate  a  larger  form  than  a  half  sheet  of 
sixty-fours,  for  the  reason  that  a  larger  form  is  seldom 
needed,  and  that,  should  it  in  any  case  be  necessary,  the 
man  who  has  got  so  far  will  be  able  to  meet  the  case.  It 
will  be  noticed  that  a  half  sheet  of  sixty-fours  is  nothing 
more  than  the  two  forms  of  a  sheet  of  thirty-twos  put 
together,  the  inner  form  being  turned  round  so  as  to  put 
the  second  page  on  the  far  left-hand  corner.  The  same 
remark  applies  to  all  other  half  sheets. 

Special  attention  is  called  to  the  "  French"  sheet  of 
twelves.  As  a  rule  both  printers  and  binders  have  a  dislike 


68  THE   PRACTICAL   PRINTER. 

for  twelves  in  any  shape,  but  they  will  find  that  by  this 
scheme  the  chief  cause  for  objection  is  removed.  The 
advantages  in  folding  will  be  readily  seen  by  reading  the 
following  remarks,  which  are  taken  from  a  previous  num- 
ber of  THE  INLAND  PRINTER  : 

"  Place  the  sheet  before  you  so  that  page  3  will  be  at 
the  upper  right-hand  corner.  Then  fold  the  top  of  the 
sheet  toward  you  to  match  page  2.  Now  slide  the  sheet 
from  the  right-hand  top  toward  you  until  page  5  comes  at 
the  upper  right-hand  corner,  and  fold  the  top  of  the  sheet 
toward  you  again,  this  time  matching  page  4  at  the  lower 
right-hand  corner.  Now  slide  the  sheet  toward  you  again, 
the  same  as  before,  until  page  1 6  is  at  the  upper  right-hand 
corner,  then  one  more  slide  and  fold,  and  you  have  the 
twenty-four  complete.  Notice  that  in  all  this  folding  you 
haven't  turned  the  sheet  over  once  in  the  whole  opera- 
tion." 


IMPOSITION. 


Six-page  Folder.  Eight-page  Folder. 


DD   DD 


165  1870 


QD  D   D 


Twelve-page  Folder. 


DDDDD 


1  12  11  10  9  8 

DnDDDD 

Sixteen-page  Folder. 

DDDnDDDD 


1  16          15         14          13          12          11           10 

DnDDDDDD 


70  THE  PRACTICAL   PRINTER. 

Sheet  of  Folio.  Sheet  of  Quarto, 

D    D  DDDD 

Z                           8  *            2              9           9. 

1                     .4  1872 

D.  D  anno 

Sheet  of  Quarto  Four  Sheets  of  Folio 

Legal  Cap  way.  imposed  Quire  wise. 

D    D  DDDD 

s  E      fir        f      si 

1  1           16            3          14 

D    D  DDDD 

Outer  form.  1st  form.           ?dform. 

D    D  DDDD 

L  9          II            8           6 

3  f>          12            7          10 

D    D  DDDD 


Inner  form.  3d  form.  4th  form. 


IMPOSITION.  71 


Sheet  of  Quarto  Broad  way. 

cm     CD     EH     CD 

f  Q  9  8 

1  8  7  2 

Outer  form.  Inner  form. 

Sheet  of  Octavo. 

DDDD  DDDD 

8          6  Zl         V  9         II  01          L 

1          16  13          4  3          14  15          2 

DDDD  DDDD 

Outer  form.  Inner  form. 

Sheet  of  Twelves. 

DDDD  DDDD 

£1         21  91          6  01         fit  H         It 

DDDD  DDDD 

8         il  03         e  9         61  81         L 

I         24  21          4  3         22  23         2 

DDDD  DDDD 

Outer  form.  Inner  form. 


THE   PRACTICAL    PRINTER. 


Two  Half -sheets  of  Broad  Quarto 
•worked  together. 


4  3  2 

H       CH       EH      CD 

Outer  form.  Inner  iorm. 


Two  Half-sheets  of  Octavo  worked  together. 

D.DDD  DDDD 

13  81  Z         L  98 

18  54  36  72 

DDDD  DDDD 


Outer  form. 


Inner  form. 


Sheet  of  Twelves  without  Cutting. 

5         20  17          8  7         18  10         6 

DDDD  DDDD 

DDDD  DDDD 

fr    17,     91    6  0[    fil     ZZ    8 

1    24     13    12  11    14    23    2 

DDDD  DDDD 


Outer  form. 


Inner  form. 


IMPOSITION,  73 


Sheet  of  Octavo  imposed  from  the  centre 

DDDD  DDDD 

£1         S  86  01         I  9          II 

13         4  1         16  15         2  3          14 

DDDD  DQDQ 


Outer  form.  Inner  form. 

Two  quarters  of  a  sheet 

Half-sheet  of  Octavo  of  Octavo  imposed 

imposed  from  centre.  from  centre. 

DDDD  DDDD 

98     19  VI     38 

72      18  32     14 

DDDD  DDDD 

Twelves  imposed  from  thi 

DD  DD 

Zl         Ll  H         H 

DDDD  DDDD 

OS          G             8/1  81          L             9         01 

21         4              1         24  23         2            3         22 

DDDD  DDDD 

Outer  form.  Inner  form. 


Sheet  of  Twelves  imposed  from  the  centre. 


91         6  Zl        Ll  n         II  01         Ql 


74  THE  PRACTICAL   PRINTER. 

Half-sheet  of  Sixteens  Half-sheet  of  Sixteens 

imposed  from  the  centra 

DDDD  DDDD 

Z         £[  H          8  51          S  86 

7         10  11          6  13          4  1  16 

DD  DD  DD  DD 
DDDO  DDDD 

86  ft          S  H          8  5          SI 

1          16  13         4  11          6  7         10 

DDDD  DDDD 

The  "French"  Sheet  of  Twelves. 

DDDD  DDDD 

Zl        81  9E          6  OL         y[  H         II 

1          24  17         8  7          18          23         2 

DDDD  DDDD 
DDDD  DDDD 


IS  OS          S  9          61  SS          8 

Outer  form.  Inner  form. 


IMPOSITION.  75 


A  Sheet  of  Sixteens. 


DDOD  DDDD 

t    6£     85    S       9    LZ     02    8 
13    20     21    12      11    22     19    H 

DDDD  DDDD 

91         LI  n         6  01         2Z  SE         SI 

1          32  25          8  7          26  31          2 

DaDD  DD  DD 

Outer  form.  Inner  form. 

Two  Half-sheets  of  Twelves  worked  together. 

DDDD  DDDD 

9191  8S8Q 

f          6  *  6  01         .8  OE         S 

1  12  1         12  11          2  11         2 

DDDD  DDDD 

Outer  form.  Inner  form. 


76 


THE  PRACTICAL   PRINTER. 


A  Half-sheet  of  Eighteeris. 
Containing  16  pages  and  2  blanks, 

DDDDDD 

Zl     £  9     U 

DDDDDD 

f     £1     8      6      H     ?. 
1     16     7     JO     15     2 

DDDDDD 

When  the  first  side  is  printed  the  centre  pages  must  be 
transposed, — viz.  pages  7  and  10  in  the  place  of  9  and  8, 
and  pages  9  and  8  in  the  place  of  7  and  10.  Then  back 
up. 


A  Half -Sheet  of  Kighteens. 


DDD  D 

n   f   01   a 

DDDD 


11      8      17      *L 

DDDD 


When  the  first  side  is  printed  transpose  the  form, 
— viz.  pages  11  and  8  in  the  place  of  7  and  12,  and  pages 
7  and  12  in  the  place  of  11  and  8,  Then  back  up. 


IMPOSITION. 


77 


Outer  Form  of  a  Sheet  of  Eigliteens, 
with  one  Signature. 

DDDDD 


II     OZ     Ll 


1     36     33-4     23     14 


DDDD 

8     QZ     Z£     V 
1     S6     33  •    4 

DDDD 

Inner  form  of  a  Sheet  of  Eighteens, 
with  one  Signature. 

DDDDDD 

£Z  8S  9 

£1  OC  I 

34  35  2 

DDDD 


81     91     Zl 


91     IG      9     £1     OC 
13     24      3     34     35 


78  THE   PRACTICAL   PRINTER. 

Outer  form  of  a  Sheet  of  Eighteens, 

to  be  folded  together. 
5  32  29  8  17  20 

DDDDDD 
D  D  ,D  D  D  D 


G  91  16 

25  T2  13  24 


DDDDDD 

Inner  form  of  a  Sheet  of  Eighteens, 

to  be  folded  together. 
19          18  7  30  31  (5 

DDDDDD 
DDDDDD 

25  £i  oi  LZ  n  8 

23  14  11  2G  35  2 

DDDDDD 


IMPOSITION. 


79 


Inner  Form  of  a  Sheet  of  Twenties. 


Eds  SQ  -Ed 

8|        |     |        |  ss  a  |        |  §|        I 


Outer  Form  of  a  Sheet  of  Twenties 


I       l~ 

|          |g 


I       Is  a  |       |  ^|       | 

|  |jg   S|  |   S|  | 


]s  -I I     I Is  -I I  - 


THE    PRACTICAL    PRINTER. 


Zl         21  91          G  98         18 


Outer  Form  of  a  Sheet  of  Twenty-fours, 
with  two  Signatures. 

DDDD  DDDD 

0£         £8 

DD 

8    II     OZ    S       ZS    I?     ft    63 
1    24     21     4       25    48     45    28 

DDDD  DDDD 

Inner  Form  of  a  Sheet  of  Twenty-fours, 
with  two  Signatures. 

DDDD  DDDD 

fg         G8  88         S8  01         St  fl          It 

DDDD  DDDD 

08    SF     &    18      9    61     81     1 
27    46     47    26       3    22     23    2 

DDDD  DDDD 


IMPOSITION.  81 


Half -sheet  of  Thirty-twos. 

ODD  DDDD 

63     S3    2       9    LZ     02    8 
20     21    12      11    22     19    14 

DDD  DDDD 
DDDD  DD 

Ll     IZ    6      0[    Co 

32     25    8       7    2G 

D  DD  DD  DD 


91   LI    n   6     or   cs    si   et 

1    32     25    8       7    2G     31    2 


Half-Sheet  of  Twenty-fours. 

DDDD  DDDD 

zi      £i        or       6  or      ci         n      IT 

DDDD  DDDD 

8         Ll          03         Q  9         61  81         I 

1          24  21          4  3          22  23          2 

DD  DD  DDDD 


THE  PRACTICAL   PRINTER. 


Outer  Form  of  a  Sheet  of  Thirty-twos. 

DDDD  DDDD 

?    19     98    63       85    18     09    Q 
13    52     45    20      21    44     53    12 

DDDD  DDDD 
DDDD  DDDD 

91          6f  8*         it  n         ]f  9S          6 

I  64  33        32  25        40  57          8 

DDDD  DDDD 

Inner  Form  of  a  Sheet  of  Thirty-twos. 

DDDD  DDDD 

9    6S     88    LZ      08    £8     E9    8 

II  54     43    22       19    46     51    14 

DDDD  DDDD 
DDDD  DDDD 

01      ee        &      &          <?[      if        os      si 

7          58  39         26  31         34  63          2 

DDDD  DDDD 


IMPOSITION.  83 


A  Half-sheet  of  Thirty-sixes. 

DDDDDD 

Z  eg  frg  8  fz  SI 

7  30  31  6  21  16 

DDDDDD 

9  28  25  12  19  IS 

DDDDDD 
DDDDDD 

01  LZ  dZ  II  OZ  LI 

DDDDDD 

8  62  £8  5  ZZ  Ql 

1  36  33  4  23  14 

DDDDDD 


84  THE   PRACTICAL    PRINTER. 

A  Half-sheet  of  Forties. 

DDDD  DDDD 

OS    IZ     IZ    LI      8L    £Z     ZZ    61 
5    36     33    8       7    34     35    6 

DDDD  DDDD 
DDDD  DDDD 

91    £c     8S    SL       n    LZ     9S    Ql 
9     32     29    12       11    30     31    10 

1         40  37          4  3         38  39          2 

DDDD  DDDD 

A  Quarter-Sheet  of  Forty-eights, 

without  cutting. 
5         20  17         8  7          18  19         6 

DDDD  DDDD 
DDDD  DDDD 

V    IZ     91    6       Ot    SI     ZZ    2 
I    24     13    12      11    14     23    2 

DDDD  DDDD 


IMPOSITION.  85 


A  Half -Sheet  of  Forty-eights, 
with  two  Signatures. 

DDOD  DDDD 

5    80     ZZ    8       93    Lf     Of    /S 
7    18     19    G      31    42     43    30 

DDDD  DDDD 

11          14  15         10  35         38  39         34 

DDDD  DDDD 

Zl         81  91          6  98         18  OF         88 

DDDD  DDDD 

8    II     05    S       SS    If     ff    63 
1    24     21    4       25    48     45    28 

DDDD  DDDD 


86  THE  PRACTICAL   PRINTER. 

A  Common  Quarter-sheet  of  Sixty-fours. 

DDDD  DDDD 

t    63     S3    ^       9    LZ     08    8 
13    20     21    12      11    22     19    14 

DDDD  DDDD 
DD  DD  DD  DD 

91         LI  tZ          6  01         83  81         SI 

1          32  25          8  7          26  31          2 

A  Quarter-sheet  of  Sixty-fours, 
with  two  Signatures. 

DDDD  DDDD 

81    18     08   -  61      03    63     38    LI 
23    26     27    22      21    28     25    24 

DDDD  DDDD 
DDDD  DDDD 

8  6  31          Q  9          II  OL          L 

1          16  13         4  3          14  15          2 

DDDD  DDDD 


IMPOSITION.  87 


A  Half-sheet  of  Sixty-fours. 

DDDD  DD  DD 

Z    89     n    12      93    68     8S    L 
15    53     47    18       23    42     51    10 

DD  DD  DD  DD 
DDDD  DDDD 

H    IQ     Of    61       ZZ    W     W    II 
3    62     35    30       27    3S     59    6 

DDDD  DDDD 
DDDD  DDDD 

f    19     98    65       83    18     09    Q 
13    52     45    20       21    44     53    12 

DDDD  DDDD 

9t    Gf     8fr    il       «    If     OS    6 
1    64     33    32      25    40     57    8 

DDDD  DDDD 


THE   PRACTICAL    PRINTER. 


MAKING    THE    MARGIN. 


Having  learned  how  to  lay  down  the  pages,  it  will  now 
become  necessary  to  learn  how  to  make  the  proper  margin. 
This  is  done  in  the  following  manner  :  Fold  a  sheet  of 
the  paper  which  is  to  be  used  into  as  many  parts  as  there 
are  pages  in  the  form.  Then  place  the  sheet  thus  folded 
on  the  first  or  left-hand  page  of  the  form,  one  edge  even 
with  the  left-hand  side  of  the  type,  place  the  adjoining 
page  so  that  its  left  side  may  be  even  with  the  right-hand 
edge  of  the  folded  paper,  which  will  leave  a  sufficient  space 
between  the  two  pages  to  admit  the  furniture,  which 
should  then  be  selected  of  a  proper  width  to  suit  the  form 
in  hand,  as  follows  :  In  octavos,  about  a  great  primer  less 
in  width  than  the  space  between  the  pages,  as  determined 
by  the  above  rule  ;  in  twelves,  about  a  pica  less  ;  in  six- 
teens,  about  a  long  primer ;  and  proportionally  less  as 
the  number  of  pages  are  increased.  Having  thus  secured 
the  proper  width  for  the  gutter-sticks,  cut  them  somewhat 
longer  than  the  page,  and  holding  one  of  them  between 
the  two  pages,  above  the  page  cord,  close  the  pages  up  to 
it ;  then  open  the  folded  sheet  so  as  to  cover  the  two  pages, 
and,  bringing  the  fold  in  the  paper  exactly  in  the  middle 
of  the  gutter-stick,  secure  it  there  with  the  point  of  a  pen- 
knife or  bodkin  ;  the  right-hand  edge  of  the  paper  thus 
opened  must  be  brought  to  the  center  of  the  cross-bar, 
which  determines  the  furniture  required  between  it  and  the 
pages.  Having  thufl  arranged  the  margins  for  the  back 
and  fore  edge  of  tUe  book,  proceed  in  like  manner  to 
regulate  the  head  and  foot  margins,  by  bringing  the  near 
edge  of  the  folded  paper  even  with  the  bottom  of  the  first 
page,  and  so  placing  the  adjoining  off  page  that  its  head 
may  be  barely  covered  by  the  off  edge  of  the  folded  paper, 


IMPOSITION.  89 

which  will  give  the  required  head  margin.  All  other 
sections  of  the  form  must  be  regulated  by  the  foregoing 
measurements,  when  the  margins  for  the  whole  sheet  will 
be  found  correct. 

The  greater  the  number  of  pages  in  a  sheet,  the  smaller 
in  proportion  should  the  margin  be ;  the  folded  paper, 
therefore,  should  lie  proportionally  less  over  the  edge  of 
the  adjoining  page,  both  for  gutter  and  back,  in  a  form  of 
small  pages  than  in  one  of  larger  dimensions.  A  folio  may 
require  the  page  to  be  half  an  inch  nearer  the  back  than 
the  fore  edge  ;  while  a  twelves  may  not  require  more  than 
a  pica  em. 

In  imposing  jobs  where  two  or  more  of  the  same  size, 
requiring  equal  margins,  are  to  be  worked  together,  fold 
the  paper  to  the  size  appropriate  for  each,  and  so  arrange 
the  type  that  the  distance  from  the  left  side  of  one  page 
to  the  left  side  of  the  adjoining  one  shall  be  exactly  equal 
to  the  width  of  the  folded  paper,  as  before  described. 

LOCKING  UP. 

The  locking  up  the  form  is  the  next  thing  to  be  con- 
sidered, and  this  part  of  the  work  requires  as  much  skill 
and  care  as  either  of  the  others  mentioned.  The  quoins 
should  first  be  gradually  and  equally  tightened  all  round 
with  the  fingers,  then  the  form  should  be  planed  down, 
and  the  sides  of  the  pages  should  be  examined,  to  find  out 
whether  any  letters  have  slipped  at  the  ends  of  the  lines,  or 
whether  the  furniture  binds  in  any  part,  causing  hanging 
or  crookedness.  After  this  the  quoins  may  be  tightened 
until  the  form  will  lift.  The  inside  quoins  should  be 
tightened  first,  that  is,  those  that  are  nearest  the  thick  end 
of  the  sidestick  and  footstick.  The  secret  of  locking  up 
a  form  so  that  it  will  be  square  and  lift  properly  is  in 


90  THE   PRACTICAL   PRINTER. 

proceeding  to  lock  up  gradually  and  evenly  all  round.  All 
the  hammering  and  tightening  in  the  world  will  not  take 
the  place  of  this.  If  the  planing  down  has  been  carefully 
done  before  locking  up,  it  will  only  be  necessary  to  go 
over  the  form  lightly  with  the  planer  to  find  whether  any 
of  the  pages  "  spring."  Beating  the  form  with  planer  and 
mallet  after  locking  up  may  spoil  much  type,  but  will  serve 
no  other  purpose. 


PRESS  DEPARTMENT. 


IN  order  to  thoroughly  understand  all  the  details  of  this 
department,  the  learner  will  need  to  commence  at  the 
very  threshold  and  take  the  place  of  "devil."  Many 
would,  no  doubt,  prefer  to  skip  this  part  and  begin  by 
learning  how  to  put  a  form  on  the  press  and  make  it 
ready ;  but  this  would  lead  to  a  superficial  knowledge  and 
must  not  be  allowed.  Many  a  pressman  looks  back  to  his 
experience  as  "devil"  with  thankfulness,  not  because  he 
relished  the  experience  which  he  then  passed  through — 
consisting,  as  it  did,  of  much  that  was  unpleasant  and 
disagreeable,  including  the  washing  of  forms  and  rollers, 
which  caused  chapped  hands  to  smart  with  lye,  and 
which  could  not  be  washed  clean  even  for  Sunday ;  sweep- 
ing floors  and  filling  waste-paper  bags;  being  daubed  with 
ink,  which  sometimes  gave  him  the  appearance  of  having 
a  sudden  growth  of  moustache  or  beard,  with  many  other 
peculiar  vicissitudes  "too  numerous  to  mention"  —  but 
because  all  that  experience  formed  the  basis  of  his  future 
success  as  a  workman. 

Education  in  a  pressroom  is  a  slow  process,  and  cannot 
be  acquired  in  a  few  months.  The  eyes,  the  ears,  the 
hands  and  the  mind  all  need  to  be  slowly  educated  to 
understand  the  various  objects,  sounds  and  operations  that 

91 


92  THE   PRACTICAL   PRINTER. 

surround  them.  All  the  faculties  need  to  be  brought  into 
harmony  with  their  environment.  The  eye  that  is  trained 
will  see  a  hundred  things  connected  with  the  machinery, 
presses,  forms,  paper  and  ink  which  another  would  not 
notice  at  all.  The  trained  ear  will  detect  sounds  that  are 
unusual,  and  will  be  able  to  trace  them  to  their  source, 
whether  they  come  from  a  loose  pulley,  a  bearing  that 
needs  oil,  or  from  some  internal  part  of  a  press,  where 
another  would  be  utterly  ignorant.  The  trained  hand 
will  handle  things  as  only  such  a  hand  can,  because  it  has 
become  accustomed  to  its  work  by  experience,  and  is  able 
to  detect  anything  wrong  in  the  condition  of  the  rollers 
or  vibrations  of  some  parts  of  the  machinery  or  presses. 

Now  all  this  proves  the  necessity  of  a  slow  and 
constant  education,  which  can  only  be  obtained  in  the 
pressroom.  No  amount  of  reading  will  supply  its  place  ; 
no  theoretical  knowledge,  however  accurate,  will  serve  the 
same  purpose,  there  must  be  actual  contact — touching, 
seeing,  and  hearing — or  no  real  knowledge  of  this  part  of 
the  business  can  be  learned. 

And  the  proper  time  to  get  this  knowledge  is  when 
young,  while  the  faculties  are  developing  and  the  mind  is 
receptive,  and  the  hands  pliable  and  the  heart  hopeful. 
The  best  pressmen  today  and  at  all  times  are  those  who 
began  young.  Such  men  will  do  the  right  thing  in  the 
right  way  and  at  the  right  time,  almost  unconsciously, 
simply  because  the  doing  of  such  things  has  become  a  part 
of  their  regular  habits  of  life.  Their  eyes  and  their  ears 
are  in  full  sympathy  with  their  surroundings,  and  can 
readily  detect  any  irregularities  that  may  intrude  them- 
selves into  their  domain.  Such  men  would  find  it  difficult 
to  explain  the  why  and  the  wherefore  of  everything  they 
do,  and  more  so  to  impart  their  knowledge  to  others, 


PRESS   DEPARTMENT.  93 

except  by  ocular  demonstration,  and  then  it  would  have 
to  be  a  slow  process  and  would  require  that  the  learner  be 
on  the  spot  all  the  time. 

But  it  must  be  clearly  understood  that  without  this 
teaching  by  practical  and  experienced  men,  no  accurate 
knowledge  of  the  business  can  be  obtained.  Merely  being 
in  a  pressroom  will  not  of  itself  be  of  much  use,  however 
important  and  helpful  it  may  be,  as  has  been  shown. 
There  must  be  instruction  as  well  as  environment,  and 
even  with  both  these  and  with  everything  else  favorable, 
it  is  not  everyone  who  can  become  a  good  pressman. 

Let  not  anyone  imagine  for  a  moment  that  the  art  of 
printing  can  be  acquired  easily  and  in  a  short  time  ;  let 
him  not  think  that  a  few  months  will  suffice  to  learn  how 
to  put  a  form  on  the  press  and  make  it  ready,  or  he  may 
become  one  of  those  useless  beings  which  we  call  "  ama- 
teurs," and  all  his  life  be  a  failure  as  far  as  he  is  concerned 
and  a  nuisance  so  far  as  others  are  concerned. 

It  is  pitiful  to  hear  young  men  talk  of  having  learned 
the  printing  business  in  a  year,  and  to  see  them  starting 
up  small  offices  with  small  capital,  small  presses  and  small 
prospects  of  reaching  anything  better  than  the  failure 
which  they  deserve.  Let  not  the  reader  be  led  away  by 
any  false  theories  on  this  subject.  There  is  but  one  way 
to  become  a  pressman,  and  that  is  by  following  in  the 
footsteps  of  those  who  have  been  all  their  lifetime  in  the 
business,  and  by  coming  practically  and  constantly  in  con- 
tact with  all  the  various  details  of  the  pressroom. 

The  great  lack  among  the  majority  of  pressmen  is 
technical  knowledge  and  experience.  So  long  as  they 
have  to  operate  upon  a  form  which  consists  only  of  plain 
type,  all  goes  well,  but  when  plates  have  to  be  made  ready 
or  engravings  "  brought  up,"  matters  do  not  proceed  so 


94  THE    PRACTICAL    PRINTER. 

satisfactorily,  and  waste  of  time  or  imperfect  work 
exposes  the  deficiency.  Again,  it  is  difficult  to  find  a 
man  who  is  equally  able  to  manage  all  the  different  makes 
of  presses.  The  principles  of  making  ready,  however,  are 
very  nearly  the  same  in  all,  and  we  are  convinced  that 
a  little  study  of  the  construction  of  each  press  would 
enable  a  man  to  prepare  a  form  with  equal  success  on  any 
press.  In  some  cases,  however,  considerable  allowance 
should  be  made,  for  a  man  has  but  little  chance  of  becom- 
ing familiar  with  a  press  he  has  had  no  opportunity  of 
working,  and  it  too  often  happens  that  his  experience  has 
been  obtained  in  a  small  office  where,  perhaps,  only  one 
or  two  presses  were  employed. 

It  is  necessary  to  mention  at  the  outset  that  the  quali- 
fications necessary  to  fit  a  man  to  manage  presses  are, 
quickness  (as  distinguished  from  fussy  haste),  a  thorough 
knowledge  of  the  construction  and  peculiarities  of  his 
press,  a  strong  nerve  and,  above  all,  unremitting  care. 
Should  a  roller  be  left  out  of  its  place,  or  a  plate  insecurely 
fastened,  the  consequence  might  be  disastrous. 

In  producing  newspapers,  quality  is  necessarily  made 
subservient  to  speed,  and  if  our  favorite  paper  possesses 
the  merit  of  containing  the  latest  details  of  the  previous 
day's  news,  we  are  not  overcritical  about  its  typographical 
appearance.  The  case,  however,  is  very  different  with 
bookwork — so  different,  indeed,  as  almost  to  constitute  it 
a  separate  trade.  The  newspaper  may  be  destroyed  in  a 
few  hours ;  the  book,  or  bound-up  serial,  remains,  perhaps, 
for  a  century,  a  credit  or  a  disgrace  to  the  establishment 
from  which  it  proceeded. 

One  of  the  difficulties  the  pressman  has  to  contend 
with  is  his  feeders.  We  attribute  the  difficulty  of  manag- 
ing the  feeders  greatly  to  the  lax  discipline  exercised  by 


PRESS    DEPARTMENT.  .  95 

the  pressman.  During  the  time  he  is  patching  a  sheet, 
when  he  supposes  the  feeders  are  rather  in  the  way  than 
otherwise,  they  are  allowed  to  do  just  as  they  think  proper, 
and  consequently  are  ripe  for  any  mischief  which  may 
present  itself.  In  a  pressroom,  above  all  places,  there  is 
always  work  to  be  done.  Feeders  can  always  be  profitably 
employed  in  cleaning  and  wiping  up  the  presses,  besides 
which  the  accumulation  of  paper,  which  is  so  noticeable  in 
the  majority  of  pressrooms,  might  be  profitably  prevented 
by  insisting  that  it  be  continually  collected  and  placed  in 
baskets,  which  ought  to  be  provided  for  the  purpose. 

As  a  rule,  the  way  pressmen  treat  their  feeders  is  very 
reprehensible,  and  we  often  wonder  that  the  latter  are  not 
more  refractory  than  they  really  are.  If  the  pressman 
would  only  take  the  trouble  to  teach  them  their  duties  — 
how  to  clean  rollers  properly,  wash  up  without  waste  of  lye 
and  benzine  j  how  to  brush  the  forms  over  without  batter- 
ing them  —  he  would  speedily  find  that  they  would  take 
greater  interest  and  pleasure  in  their  work,  besides  being 
of  more  general  assistance. 

It  is  a  well-known  fact,  that  a  great  quantity  of  work  is 
spoiled  by  the  dirty  fingers  of  the  feeders.  Proper  provi- 
sion should  be  made  for  washing,  that  no  excuse  could  be 
offered,  and  the  pressman  should,  in  all  cases,  insist  that 
the  feeders  wash  their  hands  well  before  commencing,  and 
on  every  occasion  when  the  rollers  have  been  handled. 
It  is  a  lamentable  thing  to  see  really  good  books  having 
one  or  two  well  thumbed  sheets  bound  up  in  them.  We 
are  perfectly  aware  that  this  may  sometimes  be  caused  in 
the  folding  or  binding  departments,  but  the  feeder  invari- 
ably gets  the  credit  of  it. 

Rags  and  paper  that  have  been  saturated  with  oil  or 
benzine  should  never  be  allowed  to  accumulate,  as  they 


96  THE   PRACTICAL   PRINTER. 

are  dangerous  in  case  of  fire.  Iron  pails  should  be  pro- 
vided, in  which  they  can  be  placed  when  done  with,  or 
they  may  be  carried  directly  to  the  engine  room  to  be 
burnt.  Many  fires  have  been  caused  by  allowing  such 
matter  to  collect  in  corners,  as  it  quickly  generates  heat, 
and  combustion  takes  place  at  a  comparatively  low  tem- 
perature. 

We  will  commence  cur  instructions  on  this  subject  by 
giving  a  list  of  the  technical  terms  used  in  a  pressroom : 

Bearers. — Lengths  of  type-high  wood  or  iron,  placed  along  each  side 
of  the  bed  of  a  cylinder  press,  on  which  the  cylinder  travels  when 
passing  over  the  form.  Also  pieces  of  wood  or  metal  placed  on 
the  insides  of  job  chases,  for  the  purpose  of  carrying  the  rollers 
evenly  over  small  forms. 

Bed. — The  flat  part  of  the  press,  on  which  the  form  is  laid. 

Blanket. — A  woolen  or  rubber  cloth  used  on  cylinder  presses  for  some 
classes  of  work,  to  avoid  much  making  ready. 

Blocks. — The  bases  on  which  electrotype  plates  are  fastened  for 
printing. 

Broadside. — A  form  of  one  large  page. 

Chase, — A  rectangular  iron  frame  in  which  pages  of  type  are  im- 
posed. 

Cylinder. — That  part  of  a  cylinder  press  on  which  the  sheet  is  carried 
over  the  form. 

Devil. — The  youngest  boy,  who  generally  does  the  dirty  work  and 
goes  on  errands. 

Feed-guide. — An  implement  attached  to  a  press  to  aid  in  correct 
feeding. 

Feeding. — Supplying  the  press  with  sheets. 

Fly. — The  apparatus  which  takes  off  the  sheets  from  the  press. 

Fotm. — The  type  imposed  in  a  chase  ready  for  printing. 

Fountain. — Reservoir  for  ink,  attached  to  the  press. 

Friar. — A  light  patch  in  a  printed  sheet  caused  by  defective  rolling. 

Gauge. — A  strip  of  reglet  with  a  notch  in  it  to  show  the  position  the 
form  must  occupy  on  the  press  to  get  proper  gripper  margin. 

Gauge-pin. — An  instrument  to  aid  in  feeding  job  presses  correctly. 


PRESS     DEPARTMENT.  97 

Good  color. — Sheets  printed  neither  too  black  nor  too  light. 

Grippers. — The  appliances   which  take  the  sheet  from  the  feed-board 

and  carry   it  around  the    cylinder.     Also,  on   job  presses,   long 

pieces  of  iron  which  grip  the  sheet  against  the  platen  and  pull  it 

off  the  form. 
Guides. — A  side-guide  is  a  piece  of  iron  or  other  metal  affixed  to  the 

feed-board  to  which  the  sheets  are  fed  so  as  to  strike    in  proper 

position  on  the  form.     Front-guides  are  made  adjustable  and  lie 

along  the  front  of  the  feed-board,  to  which  the  sheets  are  fed. 
Inset. — A  sheet  or  section  which  is  so  printed  as  to  set  in  some  other 

sheet  or  section. 

Mackle. — When  part  of  the  impression  appears  double. 
Making  ready. — Preparing  a  form  on  the  press  for  printing. 
Monk. — A  black  spot  in  a  printed  sheet,  owing  to  the  ink  not  being 

properly  distributed. 

Out  of  register. — When  the  pages  do  not  back  each  other. 
Overlay. — One  or  more  thicknesses  of  paper  so  cut  and  placed  on  the 

tympan,  platen,  or  cylinder  as  to  improve  the  impression. 
Perfecting. — Printing  the  second  form  of  a  sheet. 
Pick. — A  particle  of  ink  or  paper  imbedded  in  the  hollow  of  a  letter, 

filling  up  its  faces  and  occasioning  a  spot. 
Platen. — The  part  of  a  job  press  which,  acted  upon  by  a  lever,  gives 

the  impression  to  the  sheet. 
Points. — Pieces  of  steel  or  other  metal  placed  in  the  form  to  make  holes 

in  the  sheet  by  which  the  second  side  can  be  pointed  so  as  to  give 

accurate  register.    Also  for  folding  to  points  on  a  folding  machine. 
Quire. — Twenty-four  sheets  of  paper. 

Ratchet. — An  instrument  for  turning  the  screws  of  electrotype  blocks. 
Ream. — Twenty  quires  of  paper. 

Register. — To  cause  the  pages  in  a  sheet  to  print  precisely  back  to  back. 
Register  sheet. — The  sheet  used  to  make  the  register. 
Revise. — The  last  proof  of  a  form  before  working  it  off. 
Roller. — A  wooden  cylinder  or  iron  rod  covered  with  composition,  for 

inking  the  type. 
Set-off. — When  sheets  that  are  newly  worked  off  soil  those  that  come  in 

contact  with  them,  they  are  said  to  set  off. 
Sheetwise. — When  the  pages  of  a  sheet  are  imposed  in  two  forms  which 

are  backed  in  printing. 


98  THE    PRACTICAL    PRINTER. 

Signature. — A  letter  or  a  figure  placed  at  the  bottom  of  the  first  page  of 

a  sheet  to  direct  the  binder  in  gathering  the  sheets  in  a  volume. 
Slur. — A  blurred  impression  in  a  printed  sheet. 
Token. — Two  hundred  and  fifty  sheets. 
Tympan. — A  frame  covered  with  parchment  or  muslin  ard  attached  to 

the  bed  of  a  hand  press,  to  lay  the  sheet  on  before  printing. 
Underlay. — A  piece  of  paper  or  card  placed  under  types  or  cuts  to  even 

up  the  impression. 
WJiite  page. — A  blank  page. 
Work  and  ttirn. — When  a  sheet  is  printed  half  sheetwise,  the  paper 

must  be  turned  and  worked  on  the  second  side. 

Besides  the  foregoing  technical  terms,  it  will  be  well 
for  the  pressman  to  make  himself  acquainted  with  those 
previously  given  for  the  composing  department. 


MAKING    READY    ON    CYLINDER    PRESSES.  99 


MAKING  READY  ON  CYLINDER  PRESSES. 


TO  properly  make  ready  a  form  on  the  press,  so  as  to 
get  an  even  impression  and  regularity  of  color,  is  the 
first  and  most  important  part  of  a  pressman's  duties;  and 
how  to  proceed  properly  with  this  part  of  his  work,  to 
produce  the  best  results  in  the  least  possible  time,  is  what 
everyone  should  earnestly  strive  to  learn.  There  are 
many  men,  however,  who  have  very  crude  ideas  on  the 
subject,  and  are  wofully  deficient  in  the  very  rudiments  of 
such  knowledge. 

It  often  happens  that  a  man  will  spend  hours  cutting 
out,  underlaying,  patching  up,  and  overlaying  a  job,  with- 
out first  seeing  whether  the  bed  of  his  press  is  clean,  or 
whether  his  form  is  in  proper  condition.  Sometimes  the 
form  may  spring,  causing  one  part  of  the  form  to  be  higher 
than  the  other  parts,  and,  without  stopping  to  find  the  cause 
of  this  and  remedying  it  at  the  start,  he  will  proceed  to 
adjust  it  in  his  making-ready  sheets.  It  may  be  that  after 
he  has  succeeded,  in  his  way,  and  is  just  ready  to  start,  the 
form  has  to  be  unlocked  for  some  reason  or  other,  and 
when  it  is  locked  up  again  it  is  done  more  carefully,  the 
part  sprung  is  planed  down,  and  then  the  pressman  dis- 
covers that  all  his  leveling  up  has  to  be  done  over  again. 
Whereas,  had  he  taken  the  ordinary  precaution  to  see  that 
his  form  was  properly  locked  up  and  planed  down  at  the 
start,  all  that  time  would  have  been  saved.  It  is  safe  to 
say  that  about  one-half  the  work  done  by  such  men,  under 


100  THE    PRACTICAL    PRINTER. 

the  name  of  " making  ready,"  is  not  only  unnecessary, 
but  almost  renders  it  impossible  to  get  a  decent  job  at  all. 

To  see  the  force  of  these  remarks  it  is  only  necessary  to 
watch  the  proceedings  of  two  men  at  work,  the  one  a  com- 
petent workman  and  the  other  not.  You  will  notice  that 
at  first  it  looks  as  though  the  incompetent  man  is  getting 
along  faster  than  his  fellow.  He  gets  his  form  on  first, 
begins  his  cutting  out  first,  and  has  managed  to  get  his 
first  "  patched-up  "  sheet  on  the  cylinder  before  the  other 
man  has  taken  an  impression  of  his  form.  But  look  at 
them  in  an  hour's  time  !  The  first  man  is  still  laboring  in 
vain  to  get  a  result  that  will  even  satisfy  himself,  while  the 
other  man  has  just  got  his  sheet  marked  "  O.  K."  by  the 
foreman,  and  is  ready  to  go  ahead.  The  reason  for  the 
latter' s  success  is  that  he  did  not  start  till  he  was  ready. 
He  stopped  to  get  his  cylinder  and  bed  cleaned  off,  to  see 
that  his  form  was  properly  planed  down  and  locked  up,  to 
get  a  few  bad  letters  changed,  and  in  other  ways  to  try  and 
prevent  having  to  do  anything  twice  over.  But  when  he 
did  begin  it  was  all  plain  sailing,  for  he  knew  what  he  had 
to  do  and  how  to  do  it. 

There  are  many  men  who  can  make  ready  a  form  of 
type  in  fairly  good  shape,  who  are  at  a  loss  when  they  get 
a  form  of  plates;  and  there  are  more  who  can  do  both  and 
yet  know  nothing  of  fine  cut-work.  If  they  have  to  make 
an  overlay  for  a  cut  at  any  time  it  is  pitiful  to  see  how  they 
go  about  it,  doing  the  things  they  ought  not  to  do,  and 
leaving  undone  the  things  they  ought  to  do.  Perhaps  it 
may  be  unreasonable  to  expect  every  pressman  to  be  able 
to  make  ready  cut-work,  but  this  is  no  excuse  for  any 
man's  not  being  able  to  do  it  ;  and  if  all  tried  their 
best  there  would  be  twice  as  many  good  pressmen  as 
there  are. 


MAKING   READY    ON    CYLINDER    PRESSES.  101 

But  now  to  begin.  We  will  take  a  half  sheet  book 
form,  on  a  cylinder  press.  The  first  thing  necessary  is  to 
see  that  the  right  kind  of  ink  for  the  job  to  be  printed  with 
is  in*  the  fountain,  and  that  the  rollers  are  in  suitable 
"  condition,"  and  that  the  fountain  is  set  so  as  to  give  out 
a  proper  quantity  of  ink.  Then  let  the  press  run  for  a 
little  while  before  putting  on  the  form,  which  will  give  an 
opportunity  for  observing  whether  all  is  as  it  should  be. 

Next,  clean  off  the  bed  of  the  press,  making  sure  that 
there  is  nothing  there  that  will  interfere  with  getting  a  level 
impression.  Then  see  that  the  back  of  the  form  is  free  from 
dirt  or  other  substance  and  place  it  on  the  press.  Then 
loosen  the  quoins,  plane  down  the  form,  and  lock  up 
again,  being  careful  not  to  lock  it  up  too  tightly,  or  it  may 
spring.  Then  gauge  the  position  of  the  form  so  as  to 
place  the  feed  edge  the  proper  distance  from  the  gripper 
edge  of  the  cylinder.  (This  may  vary  according  to  the 
margin  required  on  the  sheet.) 

Now  give  attention  to  the  cylinder,  and  see  that  it  is 
clear  from  any  irregularities,  that  the  packing  is  clean  and 
suitable  for  the  kind  of  form  that  is  being  put  on ;  that 
the  thickness  of  the  packing  is  such  as  will  give  a  light 
impression  to  start  off  with ;  and,  also,  that  such  packing 
is  securely  fastened  so  that  it  will  not  shift. 

Next,  set  the  guides  and  take  one  or  two  impressions 
of  the  form  on  its  own  paper,  and  back  up  by  feeding  the 
same  sheets  in  again  with  the  printed  side  turned  end  for 
end  and  face  down,  so  that  page  2  will  print  on  the  back 
of  page  i.  This  is  for  the  purpose  of  making  register,  and 
should  always  be  done  before  patching  up  the  sheet,  as  it 
often  happens  that  pages  have  to  be  shifted  and  other 
changes  made. 

After  accurate  register  has  been  obtained  in  this  way, 


102  THE    PRACTICAL    PRINTER. 

then  proceed  with  the  making  ready,  which  will  vary 
according  to  the  nature  of  the  form  and  the  quality  of 
work  required.  If  there  are  cuts,  they  will  in  all  proba- 
bility need  to  be  underlaid.  If  they  should  be  lo'w  all 
over,  it  will  be  necessary  to  underlay  all  over,  and  to  put 
such  thickness  of  paper  or  cardboard  as  appears  to  be 
necessary  to  level  them  up  to  the  height  of  the  surrounding 
type  matter ;  but  if  only  low  in  some  parts,  then  only  such 
parts  need  to  be  underlaid.  Care  must  be  taken  that  the 
underlays  do  not  extend  under  any  part  of  the  type 
matter. 

Now,  take  another  impression.  If  the  underlaying  has 
been  successful  you  can  begin  to  patch  up  a  sheet,  as 
follows :  Notice  first  any  parts  that  are  too  heavy  and  cut 
them  out  of  your  sheet  with  a  sharp  knife.  (This  sheet 
ought  rather  to  be  too  thin  than  too  thick,  as  in  cutting 
out  such  parts  from  a  thick  sheet  you  may  make  too  great 
a  difference  where  only  a  slight  difference  is  needed; 
whereas,  if  the  difference  should  not  be  sufficient,  you  can 
cut  it  out  again  from  the  next  sheet.)  Next,  notice  the 
parts  that  are  low  and  which  need  to  be  brought  up  by 
overlaying.  This  is  remedied  by  laying  one  or  more 
pieces  of  thin  paper  on  such  low  parts  and  sticking  them 
with  paste,  being  careful  that  the  paste  is  thin  and  free 
from  lumps. 

The  accompanying  reduced  fac  similes  are  intended  to 
show  —  first,  the  need  for  making  ready;  second,  the 
patched-up  sheet ;  third,  the  result  obtained. 


MAKING    READY    ON    CYLINDER   PRESSES. 


103 


Vt|UOl»»p» , .„ 

•HOUJJU.LIO.,  10  ttwpimij  'imo  Imp  MHJO  pu«  , 

•Hup  «0fflow>j  JBtflBtnos  -jwaisua 

'JMMMM  •et\aatiap» 

jgangtuttioa  -iwtmi-t j  \i«(oja   ao    japtmi 


•*>o  Ainp  "Soiiai 


•a|4np  »*oi[«  a«oi|}  pu«  m 


J3  J  mnwiM  J    -ItjTirarapnr  il^OA 

i</,"a['p»v  jo  JU8A8  tn  ooo'eC 

ioil  iuu-p'iiaij(    -/jinraspni  ipp»A 
iBjinptoav  jo  »n9A8  ut  OOO'S* 
i  »..'ii»;  ai.i,     XuBdtuoo  mtfto  /nB 
•'  >^  J»«'  oc  s»  <t)!«  a1""'  urejqoioea 
iiiiiisui  01  pamnta  uo«aad  Auy 

•pa.irab8J  uoHnnntrt 


SJOSSB  'S3A.1383J  0S.H!( 

a3in!uiioj.i8dinjiptB| 


ojmyop  puu  jaBJjn.>.inAi|i«..il  v  o\\S  aAisapisaf;  putt 
'suoptMoosBV  muoiiiwossy  AH  i>»s.reu?  ssjuSu  atp 


j   ui   uoi}.>npaJ  iiuidaajjg  B  op«uf 


UOVF.H.  X  II.,  K.-l'.  17th  «is>3 
r  hturanct  Co.  ,,f  ,\'-  n,  .  |  ;„. . ..  .„ 
OEKTLEMEJI:  — 1  ln-ivi.y  .v  n.nvl.'d^'. 
the  receipt  of  the  Company1*  riuvk  i..t-  MU..TI.  ,,i 
fall  settlement  01  my  claim,  rienxc  :ir. vpt  tli.inkt 
•for  your  promptness  in  regards  to  saiiii-,.iinl  I  »i>uhl 
cheerfully 'recommend  your.  Com;.anv  i»  all  •»!,•> 
intend  taking  accident  insurance. 

JOHN   v\     l-'O.-S. 
TotJOHKEEPSIE.  If.  V.     \.n-.  ilitli.  I.XX7. 

tt  B.  BULL  A  Co..  ALIIANT,  N.  V 

I  with  to  thank  you  lor  the  i.i..rn;.i  ...ivinrnt 
Of  my  claims  in  full,  lor  injuri.K  .>,,,>,,!  at  mu 
Eignmie  (Fire.  I  can  cheerfully  n...mnh-ti.|  y..nr 
Company,  for  the  prompt  and  enW.  -ut  wayol  L.iii',' 
bnsinett. 

Ypurs  truly, 


.  „„___...  „«.  N.  T  ,  Tel'.  -Ji'ili.  iv 
H.  B.  "BULL  *  CO.,  MAS  AOIBS. 

'I  hereby  ackaowledt(e  receipt  for  full  ;mi. 

of  mr  claim  against  the  "Accident  lii-m: r  ( 

pany  of  North  America.'1  for  injam-»  rcrrivn 
me  trom  falling.  1  can  especially  rcci>ininrn<l 
Company  for  beins  very  liberal  and  piou.pt  in 
meat.  1  have  been  Insured  mother  Coini>.iHiet 
«bii_U  tbtunoat  prompt  ot  them  all. 

/A*e»  W.  Moon 


$5,000 

n  case  you  .meet  with  an  Accidental 
Death, 

$25.OO 

er  week  for  Totally  Disabling  injuries,' 
all  for 


'S18.OO"o^T 

PER  YEAR. 


The  t  argesi )  The  Oldest! 

The  Cheapest! 
•i  he  Most  Liberal         The  Bestt 

Purely  Accidcot  eoropany  on  Ibis  toritteal. 


Qvor  SI.OOO.OOO  Paid  In  Losses* 


104 


THE    PRACTICAL    PRINTER. 


MAKING   READY    ON   CYLINDER   PRESSES. 


105 


i<ur>      B|  to 
•tiao  . 

I    nudxa        'S[ua  Jtlnp  WfflC)   'losil'i: 


I3  tJjxa,,  »m  ni  etao*  ,,jtino  9330  „  oiu  }o  8. 
otjnp  MOI(M  OTOIIJ  piwtuosaad  SUI^OHO;  atu, 


mo  6$  n&l  iarl  nmima^j     /imuiopui  .C^OOAI 
OS'318  P*B  'V-aa  IBluappov  JO  IUBAO  ui  002"E3 

•00  SI?  '^s^  '»<»  nraiuiMj    'Ainniopns  i^aaa. 
SS3  PUB  ''iiuaa   [TUUDpioDy  }o  »«»Aa  «!  OOO'SS 

ni  utqj  jadmyt  1*33  *ad  OS  «n  W*  <"»«s  nitjqo  UBO 


•Jtiug  S4unouit!.3s»in  Joj  ponssj  aq  H!»  sopitoj 

pnoXaqpaB'TOOjjBSiiqoanojoaoiremaojaadinjiiire} 
8i[1  jo  ao]uc.ii:tUi  8  sc  laanuJiidaQ  oonujustn  j[.iOi 
J43JC  a'H  qjl*v  vwxlap  no  00'000-OOlSaA«tl  pnc  stnna 
ojjutjap  puujoB.inioDaAnisod  B  3Aj3  OAvsapisoq  pus 


oj  UAtop  ssi!|0  pa.uaj34j  «jjxa  atn  aj  main  viSno.iq 
OAI;I[    pun   ujtu    in   uo(}onpoj   SIU<IMJ\S  «  9[reiu 


iaii:s.Ci:.u[cscti  71  *o3u  s.ics.C 
si  m  jo  uonrzuttiSjo  ai()  o 


DOVER,  V.  IT.,  Feb.  17th,  1SSS. 
TV  AcctdenCInturance  C-.  «/  .VortA  Amrrica. 

GENTLEMEU:  — I  hereby  acknowledge 
Uie  receipt  o'f  the  Company's  check  for  $60.71,  in 
full  settlement  of  my  claim.  Please  accept  thanks 
for  your  promptness  in  regards  to  same,  and  I  would 
cheerfully  recommend  your  Company  to  all  who 
intend  biking  accident  insurance. 

Taurg  respectfully, 

»OHX  V.  FOSS. 

YouoiiKKEPsir,  V.Y..Tfov.  20th,  ISSt 
a  8.  BULL  A  Co.,  AuiAsy.  N.  Y. 

7  wish  Co  thank  you  for  the  prompt  payment 
of  my  claims  in  full,  for  injuries  received  at  the 
Eighmie  Fire.  1  can  cheerfully  recommend  your 
Company,  for  tliopromptanU  efficient  way  of  doing 
business. 

Yourstrmr, 

rooooKEEPsiE,  K.  Y.,  fib.  20th.  J883. 
•B.  S.  BULL  A  CO.,  MAVAOBM. 

I  hereby  acknowledge  receipt  for  full  amount 
Of  mr  claim  acalnst  the  "Accident  Insurance  Com- 
pany of  Worth  America,"  for  Injuries  received  by 
me  from  falling.  I  can  especially  recommend  this 
Company  for  being  very  liberal  and  prompt  in  pay 
numt.  I  have  been  Insured  in  other  Companies  but 
this  is  UM  most  piomnt  of  iliem  all. 

•W,  YOOKB, 


mn  ^& 

$5,000     ^ 

I  In  case  you  meet  with  an  Accidental 
Death. 

$25.00 


The  Largest!  The  Oldest! 

The  Cheapest  I 
The  Most  Liberal         The  Best  I 

Eurel/  Accijerit  Company  on  His  Goulinccl 


Over  $I,OOO,OOO  Paid  In  Losses- 


106  THE    PRACTICAL    PRINTER. 

Now  take  an  impression  on  the  cylinder  (or  rather  on 
the  packing).  Then  paste  the  sheet,  which  you  have  cut 
out  and  patched  up,  on  the  cylinder  so  that  it  will  be 
exactly  over  the  impression  just  taken.  A  top  sheet  may 
now  be  put  over  the  whole  and  securely  fastened.  (This 
top  sheet  should  be  smooth  and  strong  enough  to  be  pulled 
tightly  to  avoid  bagging.)  Then  take  another  impression 
and  proceed  with  patching  up  as  before,  until  the  proper 
results  are  obtained.  On  no  account  must  this  patching 
up  be  done  on  the  top  sheet,  but  either  on  the  sheet  that 
has  already  been  worked  on  or  a  new  sheet  may  be  made 
and  placed  ever  it  by  raising  the  top  sheet  for  that 
purpose. 

The  foregoing  remarks  are  intended  to  apply  to  a  type 
form.  A  form  of  plates  should  be  treated  in  the  same 
way,  except  that  more  can  be  done  in  the  way  of  leveling 
up  by  underlays  instead  of  overlays. 

For  fine  cut-work  it  will  be  necessary  to  spend  more 
time  in  cutting  out  and  overlaying  them  so  as  to  bring  up 
the  solid  parts  and  lighten  the  parts  which  are  intended  to 
be  light.  Good  cut  printers  are  always  scarce,  and  the 
reason  is  that  for  such  work  a  man  needs  to  be  an  artist, 
for  there  is  almost  as  much  art  in  printing  an  engraving 
properly  as  in  making  the  engraving.  It  does  not  always 
follow,  therefore,  that  the  man  who  spends  most  time  in 
making  his  overlays  will  arrive  at  the  best  results. 

It  is  a  great  advantage  in  this  part  of  the  work  to  try 
and  grasp  the  idea  of  the  artist  who  made  the  cut,  and 
then  to  try  to  help  toward  the  same  end.  It  is  also  well 
to  remember  that  with  a  good  cut,  a  clean  press,  a  level 
impression,  good  ink  and  good  rollers,  satisfactory  results 
should  be  obtained  with  little  or  no  patching  up.  Now, 
then,  if  all  is  not  right,  ask  yourself  the  question,  "  What 


MAKING   READY    ON    CYLINDER   PRESSES.  107 

is  wrong?"  and  the  time  spent  in  finding  the  answer  to 
the  question  will  be  more  than  saved  afterward  in  putting 
things  right. 

These  remarks  apply  equally  to  every  kind  of  form  and 
all  classes  of  work,  but  are  particularly  applicable  to  fine 
cut  or  book  work,  where  much  time  may  be  spent  in  trying 
to  produce  a  good  job. 

The  following  extract  from  an  English  work  on  this 
subject  is  worthy  of  attention  t 

The  pressure  to  be  given  in  order  to  print  an  engraving  properly  must 
not  be  uniformly  equal,  or  the  effect  apparent  on  the  engraver's  proof  will 
not  be  attained,  for  instead  of  the  impression  containing  light,  medium  and 
darker  shades,  it  will  be  uniformly  dull  and  lifeless  —  the  light  tints  will 
be  too  hard  and  black,  and  the  solids  will  neither  be  firm  nor  contain 
enough  color,  nor  will  the  medium  tints  possess  any  of  the  mildness  and 
softness  which  ought  to  pervade  part  of  the  engraving. 

It  ought  to  be  perfectly  understood  that  the  cutting  of  an  overlay 
must  not  be  performed  in  a  merely  mechanical  manner.  It  is  a  common 
practice,  after  having  hastily  looked  at  an  impression  of  an  engraving, 
to  immediately  commence  cutting  out  the  lights  and  heightening  the 
solids,  regardless  of  the  greater  artistic  effect  to  be  produced.  In  many 
cases  the  paper  is  cut  abruptly,  without  any  study  of  the  required  grada- 
tion of  light  and  shade;  and  the  workman  is  satisfied,  after  having 
finished,  by  feeling  the  overlay,  and  finding  the  blacks  heightened  and 
the  lights  depressed.  This  is,  however,  not  the  proper  method. 

Before  commencing  operations,  the  proof  supplied  by  the  engraver 
should  be  properly  studied,  with  the  aim  of  producing  as  nearly  as 
possible  the  same  effect.  It  will  be  patent  to  all  that  engravings  worked 
on  a  press  rarely,  if  ever,  equal  the  proof  supplied  with  the  cut.  In  the 
latter,  superior  ink  is  used;  the  india  proof-paper  is  beautifully  soft, 
with  a  splendid  surface;  and  the  use  of  the  burnisher  enables  the 
engraver  to  obtain  altogether  a  superior  effect.  In  addition  to  this, 
where  extreme  lightness  and  delicacy  of  tint  are  required,  the  ink  is 
partially  wiped  from  the  block,  so  that,  putting  aside  the  fact  of  the 
thoroughly  experienced  eye  for  artistic  effect,  the  means  employed  in 
the  production  of  an  engraver's  proof  are  altogether  of  a  different  and 
more  effective  character  than  those  at  the  disposal  of  a  pressman. 


108  THE    PRACTICAL    PRINTER. 

In  making  an  overlay,  the  ground-work  must  be  first  prepared  on 
the  proof  that  has  been  pulled  on  plate-paper.  Supposing  the  subject 
to  be  a  landscape,  the  sky  should  be  peeled,  i.  e.,  a  thin  layer  of  the 
paper  scraped  evenly  off.  It  is  not  advisable  to  cut  the  lighter  shades 
away  altogether,  as  it  may  cause  them  to  look  "  rotten."  Just  sufficient 
impression  should  be  given  to  allow  the  fine  lines  to  appear  plainly,  but 
not  indistinctly.  Considerable  judgment  must  therefore  be  used  in 
preparing  the  extreme  lights.  After  having  finished  the  foundation, 
the  blacks  or  solids  must  be  added.  These  will  always  be  found  in  the 
foreground.  In  fastening  the  pieces  onto  the  first  proof,  the  paste  must 
be  of  the  thinnest  consistency,  and  very  sparingly  laid  on,  as  it  soon 
dries,  becomes  hard,  and  gives  impression  where  not  intended,  thus 
f  marring  the  effect. 

From  proof  number  three  must  be  cut  all  the  lighter  shades,  retain- 
ing the  darker  and  medium  ones,  and  these  must  be  pasted  on.  The 
fourth  and  last  pull  should  possess  the  extreme,  medium  and  lighter 
shades  —  only  the  lightest  part  being  cut  away  —  and  fastened  on  as 
before.  The  greatest  care  is  necessary  that  the  pieces  be  fixed  on 
exactly  in  their  places ;  if  not,  the  overlay  is  worse  than  useless.  The 
extreme  edges  of  the  overlay  should  be  scraped  or  cut  gradually  away, 
to  prevent  them  from  appearing  hard  and  abrupt. 

In  figure  subjects,  the  fleshy  parts  —  the  face,  arms,  etc.  —  should  be 
soft  and  delicate ;  in  fact,  nothing  condemns  an  illustration  more  than 
the  dark,  muddy  face  and  hard  outline.  We  would  certainly  prefer 
them  "  rotten,"  or  indistinct,  of  the  two ;  but  the  medium  should  always 
be  aimed  at,  and  attained.  Of  course,  the  surface  and  substance  of  the 
paper  have  a  great  deal  to  do  with  the  satisfactory  appearance  of 
engravings.  When  calendered  paper  is  used  less  labor  and  ink  are 
required,  and  the  effect  is  infinitely  superior. 

Here  we  may  mention  the  frequent  appearance  in  illustrations  of 
small  white  spots,  about  the  size  of  a  pin's  head.  These,  in  the  majority 
cf  instances,  are  small  batters,  caused  by  pieces  of  grit  being  pulled  on 
to  the  cut,  or  by  the  shrinking  of  the  metal  beneath  the  copper  shell. 
Under  any  circumstances  these  will  occur,  and  should  be  attended  to 
immediately  they  are  perceived.  The  plate  should  be  lifted,  and  by 
means  of  a  pair  of  calipers  the  exact  place  can  be  marked  underneath. 
Place  the  face  of  the  electro  downwards  upon  a  piece  of  thick  paper,  to 
prevent  its  being  scratched,  and  by  means  of  a  small  punch  force  up  the 


MAKING   READY   ON    CYLINDER    PRESSES.  109 

place  marked.     This  should  be  done  with  care,  or  the  work  on  the 
surface  of  the  plate  will  suffer. 

Where  a  sheet  is  printed  in  two  forms  it  is  usual  to 
print  the  inner  form  (containing  the  second  page)  first. 
The  reason  for  this  is  that  it  often  happens  that  a  first 
page  will  contain  larger  type  and  if  printed  first  would  be 
more  likely  to  set  off  on  the  top  sheet.  And  in  the  case 
of  illustrated  journals  the  cuts  are  usually  put  on  the  first 
and  other  pages  that  come  in  the  outer  form,  and  in  that 
case  it  is  better  to  print  the  cuts  last. 


110  THE  PRACTICAL    PRINTER, 


MAKING    READY    ON    JOB    PRESSES. 


WHAT  has  been  said  in  the  preceding  pages  will  apply 
in  a  great  measure  to  making  ready  on  job  presses. 
At  the  same  time,  there  is  a  great  difference  between  the 
two  kinds  of  work  ;  hence,  it  is  often  found  that  a  man 
who  may  be  very  good  on  cylinder  presses  is  quite  at  a 
loss  when  he  comes  to  handle  a  job  press,  and  vice  versa. 

It  is  important,  first  of  all,  to  see  that  the  impression 
screws  are  set  so  as  to  give  a  uniform  impression,  and  that 
the  form  is  in  the  center  of  the  chase.  Should  the  form 
be  a  light  one,  consisting  of  delicate  type,  or  only  a  few 
lines  of  matter,  it  will  be  well  to  have  type-high  "  bear- 
ers "  on  the  inside  of  the  chase.  These  will  serve  to  bear 
some  of  the  impression,  and  help  to  keep  it  uniform, 
besides  carrying  the  rollers  evenly  over  the  type  and  pre- 
venting their  wiping  on  the  edges. 

For  the  larger  part  of  jobwork  it  is  better  to  have  the 
"  packing  "  hard,  and  the  impression  screws  set  so  as  to 
bring  the  platen  as  near  as  possible  to  the  bed  of  the 
press.  For  most  forms  it  will  be  found  well  to  have  one 
sheet  of  cardboard  (about  equal  to  six-ply),  four  sheets  of 
book  paper  (about  forty  pound),  and  a  top  sheet  of  writ- 
ing paper  ;  though  these  will  need  to  be  varied  in  quantity 
to  suit  the  different  forms,  some  requiring  a  sheet  or  two 
more  or  less  of  the  book  paper.  The  top  sheet  ought  not 


MAKING    READY   ON   JOB   PRESSES.  Ill 

to  be  put  on  until  the  patching  up  and  cutting  out  has 
been  done. 

Supposing  the  press  to  be  leveled  up  and  the  form  in 
proper  condition  for  putting  on,  then  proceed  as  follows : 
Take  a  light  impression  on  a  piece  of  book  paper ;  notice 
the  general  appearance  of  such  impression.  There  will 
probably  be  some  parts  that  are  heavy  and  some  that  are 
light,  some  single  letters  that  appear  too  high  and  some 
that  are  too  low.  Now  proceed  to  remedy  these  evils  by 
first  trying  to  remove  their  cause.  It  may  be  found  that 
the  form  needs  to  be  unlocked  and  planed  down,  or  that 
a  particle  of  dirt  is  sticking  under  some  letter,  or  that 
some  other  letter  is  really  worn  out  and  too  low  to  bring 
up,  and  needs  to  be  changed.  Then  take  another  proof 
in  the  same  way,  and  also  take  an  impression  on  the  pack- 
ing, which  should  consist  of  the  sheet  of  board  and  the 
several  sheets  of  book  paper,  as  mentioned  above,  the  top 
sheet  of  book  paper  being  the  making-ready  sheet.  Then 
lift  out  the  form  and  underlay  such  letters  (or  cuts,  if 
there  should  be  any)  as  are  low,  and  on  the  making-ready 
sheet  patch  up  with  thin  paper  such  parts  as  may  appear 
hollow  and  need  to  be  brought  up,  and  cut  out  any  parts 
that  are  too  high,  or  scratch  the  part  with  a  knife,  if 
cutting  out  would  make  too  much  difference.  This  being 
done  with  proper  results,  next  put  on  the  top  sheet,  take 
an  impression  thereon,  and  proceed  to  set  the  guides. 

Although  there  are  many  devices  called  guides,  the 
best  results  are  obtained  by  the  use  of  quadrats.  Take  a 
sheet  of  the  paper  to  be  printed  on  and  measure  across  the 
impression  on  the  top  sheet  to  ascertain  the  proper  posi- 
tion for  the  guides ;  mark  with  a  pencil,  and  then  stick 
the  quadrats  on  with  some  good  paste  or  mucilage.  The 
advantage  of  this  kind  of  guide  is  that  you  do  not  need  to 


112  THE    PRACTICAL    PRINTER. 

make  holes  in  the  packing.  By  the  use  of  pins,  or  other 
such  appliances,  the  packing  sheets  and  board  are  soon 
rendered  worse  than  useless,  as  the  different  sized  forms 
bring  the  type  right  over  where  pin-holes  have  been  made 
for  some  previous  job.  To  prevent  the  sheet  slipping 
over  the  quadrats,  it  is  well  to  paste  a  strip  of  card  along- 
side of  them,  with  one  end  left  loose,  and  under  this  the 
sheet  can  be  fed  without  any  inconvenience;  or  a  small 
piece  of  card  may  be  pasted  on  top  of  the  quadrat,  over- 
hanging slightly  on  the  side  to  which  the  sheet  is  fed. 

Let  it  be  understood  that  the  less  embossing  a  job  has 
the  better  will  be  the  result.  Some  work  is  so  indented 
that  the  back  looks  as  though  it  had  been  embossed  for 
the  blind  to  read  with  their  fingers.  A  hard,  sharp 
impression  is  what  should  be  sought  for,  and  this  can  only 
be  obtained  by  having  very  little  underneath  the  top  sheet. 

In  patching  up  imperfect  letters,  care  must  be  taken 
to  put  the  patch  just  where  it  is  needed,  and  not  allow  it 
to  touch  any  other  part.  For  instance,  if  the  dot  of  a 
letter  "i"  does  not  show  up,  and  you  put  on  a  piece  that  not 
only  covers  the  dot,  but  some  other  letter,  you  may  bring 
up  the  dot,  but  you  will  make  whatever  else  you  cover  too 
heavy.  It  is  easy  to  cut  a  very  thin  strip  of  paper  so  that 
you  can  put  on  the  smallest  particle  without  touching  any 
other  part.  All  that  is  required  is  care,  and  generally  all 
that  makes  the  difference  between  a  really  good  job  and  a 
very  bad  one  is  the  want  of  a  little  care. 

Those  who  are  determined  to  produce  good  work  will 
soon  learn  how  to  accomplish  it,  and  will  find  themselves 
well  repaid  for  the  extra  pains  they  may  have  taken  in  the 
meantime. 

It  may  be  well  to  refer  to  the  importance  of  cleanliness 
in  connection  with  good  work.  It  too  often  happens  that 


MAKING    READY   ON   JOB    PRESSES.  113 

an  otherwise  creditable  piece  of  work  is  spoiled  in  the 
handling.  Finger  marks  are  inexcusable,  and  denote  a 
slovenly  workman  or  feeder  at  once.  And  not  only  are 
these  caused  by  dirt,  but  on  some  kinds  of  paper  a  mere 
dampness  of  the  fingers  will  cause  an  ugly  mark  that 
cannot  possibly  be  wiped  off.  Then,  again,  it  often 
happens  that  either  through  using  bad  ink,  or  by  using 
too  much,  the  sheets  will  set  off  on  the  back  of  each  other 
when  laid  on  the  board.  If  the  job  is  such  as  to  call  for  a 
large  amount  of  ink,  thin  sheets  should  be  laid  between 
the  printed  sheets  as  they  come  from  the  press,  so  as  to 
prevent  the  back  of  one  sheet  coming  in  contact  with  the 
face  of  another. 

The  use  of  a  good  quality  of  ink  is  the  greatest  econ- 
omy in  the  long  run,  for  not  only  does  it  result  in  a  better 
appearance,  but  it  saves  considerable  spoilage,  and  goes 
further  than  a  cheaper  grade.  Especially  is  this  true  with 
colored  inks,  for  unless  a  really  good  result  is  obtained, 
the  job  had  better  have  been  printed  in  black.  When 
colored  work  is  bad,  it  is  bad  indeed,  and.  attracts  more 
attention  to  its  inferiority  than  would  a  job  in  black. 

Before  leaving  this  part  of  our  subject,  we  would  men- 
tion the  advisability  of  carefully  preserving  overlays  of 
jobs  that  have  taken  a  large  amount  of  time  to  prepare. 
It  often  happens  that  a  job  may  be  duplicated,  and  then  a 
great  saving  may  be  effected  in  this  way.  Of  course,  this 
applies  to  work  done  on  either  cylinder  or  job  presses. 


114  THE    PRACTICAL    PRINTER. 


THE  PROPER  TREATMENT  OF  ROLLERS. 


HTHE  importance  of  this  subject  cannot  be  overrated,  as 
JL  good  printing  depends,  to  a  very  great  extent,  upon 
the  condition  of  the  rollers.  Constant  care  and  judgment 
are  required  in  their  treatment,  as  the  materials  of  which 
they  are  made  render  them  particularly  sensitive  to  warmth 
and  cold.  The  form  may  be  perfectly  made  ready,  the 
paper  be  of  the  best  quality  and  surface,  and  superior  ink 
used,  yet  the  result  will  be  unsatisfactory  if  the  rollers  are 
not  in  fit  condition.  Indeed,  rollers  well  chosen  will  often 
compensate  for  deficiencies  in  hurried  making  ready,  and 
will  hide  many  glaring  defects  which  would  become  pain- 
fully apparent  were  the  rollers  out  of  condition. 

If  the  temperature  be  too  warm  they  will  fret  and 
burst;  if  too  cold  they  will  become  hard,  akin  to  leather. 
The  composition  should  be  neither  too  hard  nor  too  soft ; 
but  a  certain  amount  of  elasticity  is  desirable,  so  that  it 
can  adapt  itself  to  the  form  in  every  part. 

When  rollers  are  very  soft  and  pulpy  and  inclined  to 
leave  the  stocks  at  either  end,  consequent  upon  the  tem- 
perature being  high,  they  should  be  lifted  out  of  the  press, 
and  stood  in  a  cool  place  until  the  composition  becomes 
firmer.  They  must  be  constantly  watched,  for  if  they 
burst  while  working,  it  necessitates  the  table  and  form 
being  thoroughly  cleaned,  as  the  detached  composition 
adheres  firmly  to  both. 


THE  PROPER  TREATMENT  OF  ROLLERS.       115 

By  having  a  duplicate  set  of  rollers  at  hand  much  time 
and  labor  may  be  saved,  especially  in  the  summer,  in  warm, 
confined  pressrooms.  Under  these  conditions  it  will 
sometimes  be  found  necessary  to  change  the  rollers  every 
hour — say  every  two  reams.  Long  stoppages  may  be 
often  avoided  by  adopting  this  plan,  and  the  work  will 
look  very  much  better. 

The  less  violent  friction  the  surface  of  a  roller  is  sub- 
jected to,  the  longer  it  will  keep  in  condition,  so  an 
allowance  should  always  be  made  for  the  speed  at  which  a 
press  runs.  In  a  warm  temperature  the  rollers  on  a  press, 
running  from  750  to  900  copies  per  hour,  will  last  much 
longer  than  on  a  press  printing  from  1,200  to  1,500.  In 
the  latter  case  the  rollers  should  be  slightly  firmer  than  in 
the  former. 

When  rollers  become  hard,  as  they  will  in  cold 
weather,  they  should  be  wiped  down  several  times  with  a 
rag  dipped  in  hot  water,  which  will  slightly  soften  and 
render  them  "  tacky."  Care  must  be  taken  that  no  drops 
of  water  be  left  on  the  surface,  as  damp  penetrates  the 
composition,  causing  swellings,  which  burst,  leaving 
punctures.  Washing  them  with  strong  lye,  and  allowing 
them  to  be  exposed  to  the  atmosphere  when  not  in  use, 
soon  renders  them  useless.  It  must  also  be  remembered 
that  it  is  a  very  injurious  practice  to  wash  rollers  too  much. 
When  they  become  hard  and  leathery  through  long  usage, 
they  should  be  at  once  discarded,  as  it  is  almost  impossible 
to  restore  them  to  a  proper  working  condition. 

Ink  will  also  affect  the  rollers.  If  there  is  much 
"  dryers  "  in  its  composition,  it  will  dry  or  "  cake  "  upon 
the  surface  of  the  rollers  in  a  short  time,  unfitting  them  for 
decent  work.  The  only  way  to  really  remedy  this  is  to 
have  several  auxiliary  rollers  ready,  and  change  when  they 


116  THE    PRACTICAL    PRINTER. 

Become  flat,  wiping  down  the  ones  just  lifted,  that  they 
may  be  ready  when  again  required. 

The  greater  the  diameter  of  the  inking-roller  the 
better,  as  it  carries  a  larger  inked  surface  to  the  form. 
The  smaller  the  roller,  the  sooner  the  ink  is  exhausted. 

The  working  condition  of  a  roller  can  be  easily  ascer- 
tained by  the  feel.  If,  when  pressing  the  finger  into  the 
composition,  it  leaves  an  indentation,  the  roller  is  either 
too  new  or  the  temperature  in  which  it  has  been  kept  has 
been  too  warm.  No  attempt  should  be  made  to  work  a 
roller  in  this  condition,  as  the  surface  will  be  injured,  or 
the  composition  leave  the  stock.  When  rollers  are  first 
cast  they  are  invariably  unfit  for  use,  being  too  new,  and 
should  be  stood  in  a  moderately  cool  place  for  at  least  a 
week.  If  a  roller  be  too  green,  it  will  not  take  up  the  ink 
evenly,  added  to  which,  it  is  liable  to  change  the  nature 
of  the  latter,  which  loses  its  brilliancy.  An  "  inker"  in 
prime  condition  should  feel,  when  the  finger  is  drawn 
along  it,  "  tacky,"  i.  e.,  somewhat  rough  and  adhesive. 
In  this  state  it  will  take  the  ink  well  from  the  table,  and 
also  deposit  it  almost  uniformly  over  the  form.  As  we 
have  said  before,  if  the  roller  be  old  and  tough,  with  a 
bright,  leathery  surface,  it  should  not  be  used.  If  it  takes 
the  ink  from  the  table,  it  will  do  so  unequally,  and  deposit 
nearly  the  whole  of  it  on  its  first  revolution,  leaving  the 
end  of  the  form  farthest  from  the  table  without  ink. 

The  length  of  time  a  roller  should  last  cannot  be 
accurately  fixed,  as  there  are  so  many  agencies  at  work  — 
speed  of  the  press,  the  class  of  work  it  has  to  perform, 
the  kind  and  quality  of  the  ink,  and  above  all,  as  we  have 
before  said,  the  temperature.  But  careful  attention  will 
in  all  cases  materially  add  to  its  durability. 

Monks,  or  thick  ridges  of  ink  running  across  the  form, 


THE   PROPER   TREATMENT   OF   ROLLERS.  117 

are  owing  to  the  imperfect  distribution  of  ink  by  the  dis- 
tributers, or  are  sometimes  caused  by  the  fountain  knife  or 
roller  being  out  of  order  and  allowing  the  ink  to  escape  at 
intervals  in  larger  quantities  than  is  required.  If  they  are 
owing  to  either  of  the  last-mentioned  causes,  the  defect 
can  only  be  remedied  by  the  knife  being  ground  or  the 
roller  turned.  Rollers  in  bad  condition  will  sometimes 
produce  monks. 

Friars  —  named,  we  suppose,  in  contradistin.ction  to 
the  former  —  appear  across  the  page  or  pages  as  lighter 
patches  than  the  greater  part  of  the  form.  This  may  be 
the  effect  of  some  foreign  substance  having  got  onto  the 
roller  bearers,  causing  the  inkers  to  jump,  or,  as  in  the 
case  of  monks,  by  the  bad  condition  of  the  rollers ;  under 
any  circumstance,  the  cause  may  soon  be  discovered,  and 
remedied  with  little  trouble  or  ingenuity. 

Rollers  should  not  be  allowed  to  stand  about  on  the 
floor,  but  be  kept  in  a  cupboard  built  especially  for  them, 
and  should  not  be  stood  on  end  but  be  laid  lengthwise. 
This  cupboard  should  be  placed  in  that  part  of  the  room 
which  is  least  liable  to  be  affected  by  changes  of  tempera- 
ture. A  roller  properly  cared  for  will  last  much  longer 
than  it  would  otherwise,  and  will  do  good  work  for  a  long 
time.  But  it  often  happens  that  a  new  roller  is  spoiled 
after  a  few  days'  use,  and  ought  to  be  discarded,  for  when 
once  out  of  condition  there  is  no  economy  in  continuing 
to  use  it,  as  the  time  spent  in  doctoring  it  up  will  soon 
cost  more  than  a  new  one.  Pressmen  should  be  very  care- 
ful and  painstaking  in  regard  to  their  rollers,  not  only  for 
the  sake  of  their  employers,  but  also  for  their  own  comfort, 
convenience  and  credit. 


118  THE   PRACTICAL   PRINTER. 


CARE   OF  INKS. 


INKS  should  also  have  much  more  care  bestowed  upon 
them  than  they  usually  get,  and  should  be  kept  in  cup- 
boards where  dust  cannot  reach  them.  Lids  ought  always 
to  be  kept  on  the  cans  that  are  not  in  constant  use  and  a 
strip  of  paper  should  be  pasted  around  the  part  where  they 
open,  just  as  it  is  when  first  received  from  the  ink  manu- 
facturer. It  is  impossible  to  estimate  the  immense  amount 
of  loss  occasioned  by  leaving  ink  cans  and  barrels  lying 
about  the  pressroom  with  no  covering  over  them — allow- 
ing dust  and  other  matters  to  fall  into  them  ad  libitum. 
Not  only  is  the  ink  affected  thereby,  but  the  particles  of 
dust  are  carried  onto  the  face  of  the  form,  and  the  type  or 
cuts  are  injured  thereby.  Many  a  valuable  cut  has  become 
covered  with  "pin-hole  "  spots  from  this  cause,  and  many 
a  font  of  delicate-faced  type  has  been  destroyed  in  the 
same  way. 

Where  ink  has  been  standing  unused  for  a  length  of 
time,  it  is  a  good  plan,  before  using,  to  turn  it  all  out  onto 
a  slab  and  well  mix  with  an  ink-knife. 

Pressmen  should  always  make  sure  that  a  former  can  of 
ink  has  really  been  all  used  up  before  opening  a  fresh  one, 
as  the  neglect  of  this  precaution  results  in  having  several 
cans  of  the  same  ink  in  use  at  the  same  time.  A  good 
plan  is  to  see  that  the  empty  can  is  thrown  away  or  other- 
wise disposed  of  before  opening  a  new  one. 


OIL  AND   RAGS.  119 


OIL  AND   RAGS. 


two  articles  play  a  prominent  part  in  every 
JL  printing  establishment  and  cannot  be  passed  over 
without  a  slight  recognition. 

The  proper  oiling  up  of  presses  and  shafting  is  an 
important  part  of  a  pressman's  duties.  The  neglect  to 
supply  the  usual  drop  of  oil  to  any  one  of  the  many  small 
holes  found  in  a  press  may  cause  some  part  to  "  fire,"  and 
result  in  great  loss  and  delay.  A  careful  pressman  will 
regard  this  as  one  of  his  first  concerns  when  starting  up  in 
the  morning,  and  during  the  day  will  have  his  ears  on  the 
alert  for  any  unusual  noise  that'  may  arise  from  a  dry 
bearing.  Oil  should  be  used  plentifully  but  judiciously. 
Simply  pouring  a  stream  of  oil  on  any  part  may  do  more 
harm  than  good,  besides  wasting  the  oil.  Too  much  may 
be  as  bad  as  too  little.  The  great  aim  should  be  to  put 
the  right  amount  of  oil  in  the  right  place  and  at  such 
intervals  as  experience  shows  to  be  necessary.  Where 
parts  become  gummed  up  or  holes  are  clogged  it  is  a  good 
plan  to  apply  a  little  kerosene  oil  which  has  the  effect  of 
loosening  the  obstruction. 

Oil  cans  should  be  kept  in  good  condition,  and  when 
they  become  injured  from  any  cause  they  should  either  be 
repaired  or  replaced  by  new  ones.  A  faulty  oil  can  is  a 
nuisance,  as  well  as  being  the  cause  of  much  loss  of  oil. 


120  THE   PRACTICAL   PRINTER. 

Benzine  should  be  used  with  great  caution,  as  it  is 
highly  inflammable  and  has  more  to  answer  for  in  the  way 
of  fires  than  anything  else  that  is  used.  There  are  many 
devices  for  storing  this  in  small  quantities,  and  the  printer 
who  does  not  avail  himself  of  such  lays  himself  open  to 
just  censure. 

Rags  should  be  supplied  to  the  pressroom  in  sufficient 
quantities  to  provide  for  washing  up  properly  and  speedily, 
but,  at  the  same  time,  should  be  well  looked  after,  espe- 
cially when  they  have  become  saturated  with  oil  and 
benzine.  If  a  printer  wishes  to  have  a  fire  he  need  only 
allow  a  pile  of  such  dirty  rags  to  lie  in  some  corner  until 
spontaneous  combustion  takes  place,  for  which  he  will  not 
have  long  to  wait.  Therefore,  those  who  wish  to  prevent 
fires,  and  avoid  the  risk  of  having  to  answer  for  causing  the 
death  of  some  unfortunate  persons,  will  take  the  precau- 
tion to  have  all  dirty  rags  taken  care  of  while  in  use  and 
destroyed  when  done  with. 


STOCK  AND    SHIPPING   DEPARTMENT.  121 


STOCK  AND  SHIPPING   DEPARTMENT. 


IN  an  establishment  of  moderate  size,  it  is  well  to  have 
the  stock  handled  by  one  man  (with  assistance,  if 
necessary),  both  before  and  after  printing.  All  stock  that 
comes  in  should  be  passed  into  his  care,  and  all  that  goes 
out  should  go  through  his  hands.  He  should  also  have  the 
giving  out  of  all  stock  whether  to  be  printed,  ruled  or 
bound.  By  this  means  an  easy  check  is  kept  upon  the 
quantity  received  and  used.  It  too  often  happens  that 
there  is  great  looseness  with  regard  to  stock,  and  it  is  often 
easy  for  a  pressman  who  spoils  a  quantity  of  paper  to  help 
himself  to  more  without  its  being  charged  up  against  the 
job.  Then  in  the  matter  of  delivering  to  customers  there 
is  great  advantage  in  having  the  work,  when  finished, 
passed  through  the  hands  of  the  man  who  gave  out  the 
stock,  as  he  will  more  readily  detect  anything  that  may  be 
wrong  as  regards  quantity  or  otherwise.  To  see  that  a 
customer  gets  full  count  is  an  important  matter,  and 
when  it  is  understood  that  the  work  is  being  counted  or 
measured,  the  chances  are  that  the  pressmen  will  not  spoil 
so  much. 

The  man  who  has  charge  of  this  work  should  know 
something  of  the  printing  business ;  should  be  strong  and 
active,  and  also  be  quick  at  figures.  These  are  qualifi- 
cations that  are  not  hard  to  find,  and  need  not  necessarily 


122  THE    PRACTICAL    PRINTER. 

involve  the  paying  of  a  large  salary,  but  it  is  the  poorest 
kind  of  economy  to  put  a  cheap  man  in  so  responsible  a 
position,  and  a  mistake  to  think  it  is  only  laborer's  work, 
which  can  be  done  by  anyone. 

The  fitting  up  of  a  stockroom  is  another  important 
point  to  be  considered.  The  tables  and  shelves  should 
be  so  arranged  that  each  kind  and  weight  of  stock  can 
stand  by  itself,  instead  of  being  piled  one  on  the  other. 
Nothing  should  stand  on  the  floor,  but  platforms  should 
be  provided  which  would  raise  the  paper  at  least  twelve 
inches,  and  so  prevent  the  damage  occasioned  by  knocking 
the  sweeping-broom  against  the  edges  of  the  paper.  It  is 
better  to  build  the  shelves  so  that  the  stock  can  be  carried 
the  full  height  of  the  room  rather  than  have  it  spread 
around  and  occupying  all  the  floor  space. 

Another  point  of  importance  is  the  carrying  of  such 
stock  as  will  use  up  to  most  advantage.  There  are  certain 
leading  sizes  and  weights  which  should  always  be  on  hand, 
and  never  be  allowed  to  run  so  low  as  to  fall  short  in  a  day 
or  two.  The  same  remark  applies  also  to  certain  standard 
qualities.  But  the  idea  of  trying  to  keep  on  hand  every 
size  and  weight,  and  every  kind  and  quality,  is  unwise. 
Rather  have  less  kinds  and  greater  quantities,  than  more 
kinds  and  smaller  quantities.  In  regard  to  flat  papers  for 
general  jobbing  work,  two  leading  qualities  will  often 
suffice  —  one  a  good,  substantial  number  one  rag,  and  the 
other  a  cheaper  grade,  costing  about  one-third  less.  For 
instance,  if  the  better  kind  cost  12  cents  then  the  other 
should  cost  about  8  cents.  Any  intermediate  quality  is 
likely  to  lead  to  mistakes  and  loss.  If  an  intermediate 
quality  is  carried  it  will  often  happen  that  when  the  cheaper 
kind  is  not  on  hand  the  intermediate  quality  will  be  used 
at  a  loss,  and  when  the  job  is  done  again  the  customer  will 


STOCK  AND   SHIPPING    DEPARTMENT.  123 

expect  to  get  the  same  quality.  Or  if  the  better  kind  runs 
out  then  there  is  a  temptation  to  substitute  the  intermediate 
quality,  with  the  chance  of  having  the  whole  job*  thrown 
back,  or  a  deduction  made  on  the  bill  which  will  cut  off 
all  the  profit.  And  with  other  kinds  of  paper  or  cardboard 
the  same  rule  holds  good,  though,  of  course,  circumstances 
may  alter  the  case  in  some  instances. 

In  the  matter  of  cutting  stock  for  printing,  it  is  well  to 
have  it  done  by  a  man  who  knows  something  of  the  print- 
ing business,  as  he  will  often  cut  it  so  as  to  suit  the  job  and 
help  the  pressman  in  his  part  of  the  work.  As,  for  instance, 
where  there  is  little  margin  on  a  job  it  is  well  to  cut  it 
double  the  size,  and  then  work  and  turn  the  sheet  round, 
which  gives  an  opportunity  for  using  the  grippers ;  and  in 
various  other  ways  the  cutter  can  help  the  printer.  While 
speaking  of  cutting  it  may  be  well  to  mention  another 
point  which  may  be  of  value  to  some  who  have  not  had 
much  experience.  It  often  happens  that  in  cutting  up  a 
job  which  has  been  printed  several  on  a  sheet,  there  will 
be  a  set-off  caused  by  the  clamp  pressing  upon  the  printed 
matter.  This  can  often  be  avoided  by  laying  a  strip  of 
thick  cardboard  along  the  front  of  the  clamp  and  between 
the  printed  parts  so  as  to  bear  off  the  pressure  from  such 
printed  parts.  Where  a  small  number  of  a  job  has  to  be 
done  in  a  hurry,  and  cut  before  the  ink  has  had  time  to 
dry,  it  is  a  good  plan  to  take  a  little  magnesia  or  plaster  of 
paris  and  dust  over  the  sheet,  and  then  rub  off  with  a  piece 
of  cotton  batting. 

Where  cardboard  has  to  be  cut  on  an  ordinary  cutting 
machine,  it  should  be  so  done  as  to  have  an  inside  cut  edge 
all  round,  as  it  will  be  noticed  that  the  edge  which  comes 
from  the  outside  of  the  knife  is  always  rough  and  broken. 
This  can  be  easily  accomplished  by  cutting  the  card  a 


124  THE   PRACTICAL   PRINTER. 

trifle  larger  and  then  turning  it  round  and  cutting  a  shaving 
off,  which  will  give  a  nice,  clean,  even  edge. 

The  following  tables  will  be  found  useful  in  this  depart- 
ment, and  the  man  who  has  charge  should  make  himself 
familiar  with  each  one,  which  will  result  in  his  work  being 
done  not  only  more  accurately,  but  also  much  more  easily. 

Tables  I  to  IV  show  the  amount  of  paper  to  give  out 
for  jobs  of  any  quantity  from  50  to  100,000  copies,  and  will 
save  much  time  in  figuring. 


STOCK   AND    SHIPPING    DEPARTMENT. 


125 


TABLES  for  giving  out  Paper,  calculated  in  Reams,  Quires  and  Sheets. 
20  Quires  (480  Sheets)  to  the  Ream.     No  Overs. 

TABLE  I. 


No. 
Required 

Full 
Sheet. 

Half 
Sheet. 

To  Sheet. 

4 
To  Sheet. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

50 

022 

Oil 

o      o    17 

o      o    13 

IOO 

044 

022 

O        I      IO 

Oil 

2OO 

088 

044 

0        2      19 

O        2        2 

250 

0      10      10 

055 

o     3    12 

O        2      15 

300 

0      12      12 

066 

044 

033 

4OO 

o    16    16 

088 

o     5    14 

044 

500 

I        O     2O 

O      IO      IO 

o      6    23 

o     5     5 

600 

i      5      o 

O      12      12 

088 

066 

700 

i      9      4 

o    14    14 

o      9    18 

077 

750 

i     ii      6 

o    15    15 

O      IO      II 

o      7    20 

800 

i    13      8 

o    16    16 

0113 

088 

900 

I      17      12 

o    18    18 

0      12      12 

099 

I,OOO 

2         I      l6 

I        0     20 

0      13      22 

O      IO      IO 

1,250 

2122 

I      6      i 

o    17    10 

o    13      i 

1,500 

3        2      12 

i     ii      6 

I         O     21 

o    15    15 

1,750 

3      12      22 

i     16    ii 

i      4      9 

o    18      6 

2,000 

438 

2         I      16 

i      7    19 

I        O     2O 

*  2,500 

544 

2122 

i     14    18 

i      6      i 

3,000 

650 

3212 

2         I      l6 

i     ii      6 

4,000 

8      6    16 

438 

2      15      I4 

2         I      l6 

5,000 

10      8      8 

544 

3      9    ii 

2      12        2 

10,000 

20    16    16 

10      8      8 

6    18    22 

544 

20,000 

41    13      8 

20    16    16 

13      7    20 

10      8      8 

30,000 

62    10     o 

3i      5      o 

20    16    18 

15      12      12 

40,000 

83      6    16 

41    13      8 

27    15    16 

20    1  6    1  6 

50,000 

104      3      8 

52      i     16 

34    14    14 

26      o    20 

100,000 

208      6    16 

104      3      8 

69      9      4 

52      i     16 

126 


THE    PRACTICAL    PRINTER. 


TABLES  for  giving  out  Paper,  calculated  in  Reams,  Quires  and  Sheets. 
20  Quires  (480  Sheets)  to  the  Ream.     No  Overs. 

TABLE  II. 


No. 
Required 

6 
To  Sheet. 

8 
To  Sheet. 

9 
To  Sheet. 

12 

To  Sheet. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

50 

009 

007 

006 

005 

100 

0017 

o      o    13 

O        O      12 

009 

200 

0        I      10 

Oil 

o      o    23 

o     o    17 

250 

o      i    18 

o      i      8 

OI4 

0        0     21 

300 

022 

o      i    14 

O        I      IO 

Oil 

400 

0        2      19 

022 

O        I      21 

O        I      IO 

500 

o     3    12 

0        2      15 

028 

o      i    18 

6OO 

044 

033 

0        2      19 

022 

7OO 

o      4    21 

o      3    16         036 

O        2      II 

750 

056 

0        3      22             0        3      12 

O2I5 

800 

o      5    14 

044 

o      3    17 

O2I9 

QOO 

066 

o      4    17 

044 

033 

I,OOO 

o      6    23 

055          o      4    16 

o      3    12 

1,250 

o      8    17 

o      6    13 

o      5    20 

049 

1,500 

O      IO      II 

o      7    20 

070 

056 

1,750 

o    12     5 

093         086 

063 

2,000 

O      13      22 

o    10    10         097 

o      6    23 

2,500 

o    17    10 

o    13      i          o    ii     15 

o      8    17 

3,000 

I        O     2O 

o    15    15 

O      13      22 

0      10      10 

4,000 

i      7    19 

I         O     2O 

o    18    13 

0      13      22 

5,000 

i    14    18 

i      6      i 

i      3      2 

o    17      9 

10,000 

3      9    12 

2      12        2 

264 

i    14    18 

20,000 

6    19      o 

544 

4    12    15 

3      9    12 

30,000 

IO        8      12 

7    16      6 

6    19      o 

5      4      6 

40,000 

13    18      o 

10      8      8         958 

6    19      o 

50,000 

17      7    12 

13      o    10 

II    II    15 

8    13    18 

100,000 

34    15      o 

26      o    20 

23      3      6 

17      7    12 

STOCK   AND   SHIPPING    DEPARTMENT. 


127 


TABLES  for  giving  out  Paper,  calculated  in  Reams,  Quires  and  Sheets. 
20  Quires  (480  Sheets)  to  the  Ream.     No  Overs. 

TABLE  III. 


No. 
Required 

15 

To  Sheet. 

16 
To  Sheet. 

18 
To  Sheet. 

20 
To  Sheet. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

50 

004 

004 

003 

003 

IOO 

007 

007 

006 

005 

200 

o      o    14 

o      o    13 

O        O      12 

o      o    10 

250 

o      o    17 

0016 

o     o    14 

o      o    13 

300 

0        0     20 

o      o    19 

o     o    17 

o      o    15 

4OO 

o      i      3 

Oil 

o      o    23 

o     o    20 

500 

O        I      IO 

o      i      8 

014 

Oil 

600 

o      i     16 

o      i    14 

O        I      IO 

o      i      6 

700 

o      i    23 

0        I      20 

o      i     15 

O        I      II 

750 

023 

o      i    23 

o      i    18 

o      i     14 

800 

026 

O        2        2 

O        I      21 

o      i     16 

900 

O        2      12 

O29 

022 

0         I      21 

I,OOO 

0        2      IQ 

0        2      15 

028 

O        2        2 

1,250 

o      3    12 

037 

O        2     22 

O        2      15 

1,500 

045 

o      3    23 

o      3    12 

0     3      3 

1,750 

O        4     22 

o      4    15 

042 

o      3    16 

2,OOO 

o      5    H 

055 

o      4    16 

044 

2,500 

070 

o      6    13 

o     5    20 

o      5      5 

3,000 

088 

o     7    20 

o      6    23 

066 

4,000 

0113 

O      IO      IO 

097 

088 

5,000 

0      13      22 

o    13      i 

o    ii     14 

O      IO      IO 

10,000 

i      7    19 

i      6      i 

134 

I        O     2O 

20,000 

2      15      I4 

2      12        2 

268 

2         I      16 

30,000 

439 

3    18      3 

3      9    12 

3        2      12 

40,000 

5    ii      4 

544 

4    12    16 

438 

50,000 

6    18    22 

6    10      5 

5    15    20 

544 

100,000 

13    17    20 

13      o    10 

ii     ii     16 

10      8      8 

128 


THE    PRACTICAL   PRINTER. 


TABLES  for  giving  out  Paper,  calculated  in  Reams,  Quires  and  Sheets. 
20  Quires  (480  Sheets)  to  the  Ream.     No  Overs. 

TABLE  IV. 


No. 
Required 

24 

To  Sheet. 

32 
To  Sheet. 

36 
To  Sheet. 

48 

To  Sheet. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

R.     Q.     S. 

5o 

003 

002 

002 

o     o     ij 

100 

005 

004 

003 

0       0        2.\ 

200 

009 

007 

006 

004} 

250 

0        0      II 

008 

007 

o     o     5£ 

300 

o      o    13 

O        O      IO 

009 

007 

400 

o     o    17 

0013 

O        O      12 

009 

500 

O        O     21 

0016 

o      o    14 

O        O      II 

600 

Oil 

o     o    19 

0017 

o     o    13 

7OO 

O        I         6             O        O     22 

O        O     2Q 

o      o    15 

750 
800 

o      i      8 

0        I      10 

O        I         O 
0        I         I 

0        0     21 

o      o    23 

o      o    16 
o      o    17 

900 

o      i     14 

o      i      5 

Oil 

o      o    19 

1,000 

o      i     18 

o      i      8 

OI4 

O        O     21 

1,250 

025 

o      i     16 

Oil! 

o      i      3 

1,500 

O        2      15 

020 

o      i    18 

o      i      8 

1,750 

032 

028 

0        2         I 

o      i     13 

2,000 

0312 

0        2      15 

028 

o      i     18 

2,500 

049 

o     3      7 

0        2      22 

025 

3,000 

055 

0        3      22 

O3I2 

O        2      15 

4,000 

o      6    23 

<>     5      5 

o      4    16 

0312 

5,000 

o      8    17 

0613 

o      5    19 

049 

10,000 

o    17      9 

o    13      i 

o    ii     14 

o      8    17 

20,000 

i    14    18 

I         6        2 

i      3      4 

o    17    10 

30,000 

2      12        2 

i    19      3 

i    14    18 

i      6      3 

40,000 

3      9    ii 

2      12        4 

268 

i    14    20 

50,000 

4      6    20 

3     5      5 

2      17      22 

2      3    13 

100,000 

8    13    16 

6    10    10 

5    15    20 

472 

STOCK   AND   SHIPPING    DEPARTMENT. 


TABLE  showing  the  Quantity  of  Paper  required  to  print  1,000  copies 
of  a  book  in  any  form  from  octavo  to  321110. 


No.  of 
Forms. 

Svo. 

I2mo. 

i6mo. 

24mo. 

32mo. 

Paper  for 
1,000  Copies. 

Pages. 

Pages. 

Pages. 

Pages. 

Pages. 

Rms.   Qrs. 

I 

8 

12 

16 

24 

32 

I       2 

2 

16 

24 

32 

48 

64 

2     4 

3 

24 

36 

48 

72 

96 

3     6 

4 

32 

48 

64 

96 

128 

4     8 

5 

40 

60 

80 

1  20 

1  60 

5     10 

6 

48 

72 

96 

144 

192 

6      12 

7 

56 

84 

112 

1  68 

224 

7    H 

8 

64 

96 

128 

192 

256 

8    16 

9 

72 

1  08 

144 

216 

288 

9    18 

10 

80 

1  20 

1  60 

240 

320 

ii 

ii 

88 

132 

I76 

264 

352 

12       2 

12 

96 

144 

I92 

288 

384 

I3     4 

13 

.  104 

156 

208 

312 

416 

14     6 

14 

112 

1  68 

224 

336 

448 

15     8 

15 

120 

1  80 

240 

360 

480 

16     10 

16 

128 

192 

256 

384 

512 

17      12 

17 

136 

204 

272 

408 

18    14 

18 

144 

216 

288 

432 

19     16 

19 

152 

228 

3°4 

456 

20      18 

20 

1  60 

240 

320 

480 

22 

21 

1  68 

252 

336 

5°4 

23       2 

22 

176 

264 

352 

.... 

24     4 

23 

184 

276 

368 

.... 

25     6 

24 

192 

288 

384 

26     8 

25 

200 

300 

400 

27    10 

26 

208 

312 

416 

28      12 

27 

216 

324 

432 

.... 

29      14 

28 

224 

336 

448 

3°    l6 

29 

232 

3^ 

464 

31    18 

30 

240 

360 

480 

33 

EXAMPLE. — How  many  reams  will  be  required  for  a  i2mo.  book  containing 
312  pages?  Find  the  number  of  pages  (312)  in  the  i2mo.  column:  in  the  outer 
column  on  the  left  of  the  table  the  number  of  forms  (26)  is  seen  :  and  in  the  outer 
column  on  the  right,  the  quantity  of  paper  required  is  given  (28  reams  12  quires). 


130 


THE    PRACTICAL   PRINTER. 


TABLE  showing  the  Number  of  Sheets  contained  in  any  Number  of 
Quires. 


Quires. 

Sheets. 

Quires. 

Sheets. 

Quires. 

Sheets. 

I 

24 

21 

5°4 

4i 

984 

2 

48 

22 

528 

42 

1008 

3 

72 

23 

552 

43 

1032 

4 

96 

24 

576 

44 

1056 

5 

120 

25 

600 

45 

1080 

6 

144 

26 

624 

46 

1104 

7 

168 

27 

648 

47 

1128 

8 

192 

28 

672 

48 

1152 

9 

216 

29 

696 

49 

1176 

10 

240 

30 

720 

50 

1200 

ii 

264 

31 

744 

5i 

1224 

12 

288 

32 

768 

52 

1248 

13 

312 

33 

792 

53 

1272 

H 

336 

34 

816 

54 

1296 

15 

360 

35 

840 

55 

I32O 

16 

384 

36 

864 

56 

1344 

17 

408 

37 

888 

57 

1368 

18 

432 

38 

912 

58 

1392 

19 

456 

39 

936 

59 

I4l6 

20 

480 

40 

960 

60 

1440 

NAMES  AND  SIZES  OF  DIFFERENT  PAPERS. 


Flat  Letter 

Law  Blank  or  Small  Cap, 

Flat  Cap 

Crown         ... 

Demy    .... 

Folio  Post  - 

Check  Folio  - 

Medium — Writing 


10x16 
13x16 
14x17 
15x19 

16x21 
17x22 

17x24 


Medium — Printing  -     19x24 

Royal — Writing  19x24 

Royal — Printing  -     20x25 

Double  Cap         -         -  17x28 

Super  Royal — Writing  -     20x28 

Cardboard            -         -  22x28 

Imperial — Writing  -     22x30 
22x32 


18x23       Imperial — Printing 


STOCK    AND    SHIPPING    DEPARTMENT. 


131 


TABLE  OF  COMPARATIVE  WEIGHTS  OF  PAPER. 


24x38 

25 

28 

30 

35 

40 

44 

48 

50 

56 

60 

70 

80 

14x17 

7 

7 

8 

9 

10 

12 

13 

H 

15 

16 

18 

20 

17x22 

10 

ii 

12 

14 

16 

18 

20 

21 

23 

25 

28 

33 

18x23 

ii 

13 

14 

16 

18 

20 

22 

23 

25 

27 

32 

36 

19x24 

13 

14 

15 

18 

20 

22 

24 

25. 

28 

30 

35 

40 

20x25 

H 

15 

17 

19 

22 

24 

26 

28 

3i 

33 

39 

44 

22x28 

17 

19 

19 

24 

27 

3° 

32 

34 

38 

40 

47 

54 

22x32 

J9 

21 

23 

27 

31 

34 

37 

39 

45 

47 

54 

62 

23x41 

26 

29 

31 

36 

4i 

46 

5o 

52 

58 

62 

73 

83 

24x36 

24 

26 

29 

33 

38 

42 

45 

48 

53 

57 

66 

76 

26x38 

27 

30 

33 

38 

43 

48 

52 

54 

63 

65 

76 

87 

26x40 

29 

32 

35 

40 

46 

50 

55 

57 

64 

68 

80 

9i 

27x40 

30 

33 

36 

42 

47 

52 

57 

59 

66 

7i 

83 

95 

28x42 

32 

36 

39 

45 

52 

57 

62 

65 

72 

77 

90 

103 

28x44 

34 

37 

41 

47 

54 

60 

65 

68 

76 

81 

95 

108 

29x41 

33 

36 

40 

46 

52 

57 

63 

65 

73 

78 

9i 

104 

29x43 

34 

38 

42 

48 

55 

60 

66 

69 

78 

82 

96 

109 

30x42 

35 

38 

42 

48 

55 

61 

66 

69 

78 

83 

97 

in 

33x46 

42 

46 

5i 

58 

67 

73 

80 

83 

93 

IOO 

117 

133 

BUSINESS  MANAGEMENT. 


HAVING  treated  of  the  various  processes  of  the  print- 
er's art,  it  is  now  necessary  to  consider  the  methods 
of  conducting  business.  And  at  the  outset  it  is  important 
to  emphasize  the  fact  that  there  is  no  business  more 
dangerous  as  regards  the  liability  for  failure  than  that  of 
printing,  Perhaps  not  more  than  one-fourth  of  those 
started  ever  reach  a  paying  basis,  and  less  than  that 
number  ever  make  anything  like  a  success.  Indeed,  the 
number  of  successful  printing  businesses  cannot  be  more 
than  ten  per  cent  of  those  which  are  begun.  These  are 
stern  facts,  and  safely  within  the  bounds  of  truth.  There- 
fore, those  who  contemplate  making  a  start  for  themselves 
need  to  be  careful  lest  they  go  with  the  great  majority. 

But,  at  the  same  time,  there  is  money  in  the  business, 
if  properly  handled.  The  chief  danger  lies  in  the  fact 
that  there  are  so  many  incompetent  men  trying  to  conduct 
printing  businesses,  who  take  work  at  ridiculously  low 
prices  (many  of  them  not  knowing  that  they  are  doing 
so)  that  a  new  beginner  is  compelled  to  compete  with 
them,  and  is  in  danger  of  losing  sight  of  the  important 
fact  that  he  cannot  do  a  job  at  a  certain  price  because 
someone  else  does  it  for  that  amount.  •  He  is  in  danger  of 
forgetting  to  figure  on  the  cost  of  production,  and  of 


BUSINESS    MANAGEMENT.  133 

losing  sight  of  the  fact  that  someone  else  doing  work  at 
a  loss  will  be  no  consolation  when  he  fails.  There  is  only 
one  safe  way  of  doing  business,  and  that  is  seeing  that  a 
fair  profit  can  be  made  on  all  work  done.  The  head  of 
one  of  the  largest  printing  businesses  in  America  lately  said 
that  the  amount  of  net  profit  made  on  their  total  output 
for  a  year  was  only  ten  per  cent ;  and  it  is  safe  to  say 
that  more  than  half  the  printers  in  the  country  do  not  get 
such  good  prices  as  does  that  firm.  Net  profit  is  a  thing 
that  very  few  men  ever  get  to  understand.  They  figure 
roughly  or  approximately,  and  flatter  themselves  that  they 
are  making  profit  when  they  may  be  getting  poorer  every 
year.  They  sometimes  forget  the  amount  that  the  capital 
they  have  invested  in  the  business  would  bring  them  in 
if  invested  at  compound  interest.  They  also  lose  sight 
of  the  fact  that  their  plant  depreciates  in  value  to  the 
extent  of  at  least  ten  per  cent  per  annum,  to  say  nothing 
of  the  materials  —  furniture,  reglet,  leads,  brass  rule, 
etc. — which  are  being  used  up  all  the  time,  making  the 
depreciation  more  like  twenty  per  cent  per  annum  !  They 
sometimes  also  lose  sight  of  the  fact  that  their  own  time 
and  labor  has  a  market  value  outside  of  their  own 
business. 

Take  a  sample  case  :  A  man  has  $25,000  invested  in 
a  printing  business,  the  plant  having  cost  $20,000  and  the 
working  capital  being  the  other  $5,000.  Now,  that  amount 
invested  at  six  per  cent  would  net  him  $1,500.  Then  add  to 
this  the  ten  per  cent  depreciation  on  the  $20,000,  making 
$3,500.  Next,  take  his  services  at,  say,  $2,000,  and  you 
have  a  total  of  $5,500  a  year.  Now,  suppose  his  business 
pays  him  that  amount  every  year,  what  are  his  net  profits  ? 
Just  the  $2,000  which  we  have  allowed  for  his  services ! 
For  the  interest  on  the  money  he  could  get  anywhere,  and 


134  THE    PRACTICAL    PRINTER. 

the  $2,000  allowed  for  depreciation  has  to  be  spent  in  buy- 
ing new  plant  to  replace  that  which  is  being  worn  out  all 
the  time.  But  suppose  he  should  draw  out  the  $5,500  a 
year,  and  spend  it,  what  would  he  be  worth  when  his  plant 
was  worn  out  ?  Why,  absolutely  nothing.  Whereas  he 
would  have  no  difficulty  in  investing  his  $25,000  at  seven 
per  cent  interest,  which  would  net  him  almost  as  much 
without  his  services,  and  he  would  still  be  worth  $25,000 
all  the  time.  And  this  argument  holds  equally  good 
where  a  smaller  or  larger  amount  than  that  mentioned  is 
invested. 

It  may  be  that  in  some  instances  a  better  result  than 
the  above  might  be  shown,  but  it  is  just  as  likely  that  even 
a  worse  result  would  represent  the  majority  of  cases.  There 
are  hundreds  of  employing  printers  who  have  all  their 
capital  invested  in  their  business,  and  who  give  more  hours 
of  their  own  time  than  anyone  in  their  employ,  whose  net 
profits  do  not  amount  to  more  than  the  salary  of  some  of 
their  employes. 

These  facts  are  here  stated  for  the  purpose  of  pressing 
home  upon  the  mind  of  the  beginner  the  importance  of 
adopting  right  methods  in  the  conduct  of  his  business, 
and  to  make  him  cautious  and  watchful  against  the  many 
liabilities  to  failure  and  loss  which  are  before  him ;  for 
the  more  deeply  he  is  impressed  by  the  foregoing  remarks 
the  less  likely  will  he  be  to  indulge  in  cutting  prices 
for  the  sake  of  getting  work,  or  to  allow  any  other  bad 
practices  to  ruin  his  business. 

It  does  not  follow  that  because  a  man  is  a  good  printer 
he  will  necessarily  make  a  successful  business  man  when 
he  starts  for  himself,  as  many  have  found  to  their  sorrow. 
At  the  same  time  it  does  follow  that  he  will  not  be  so 
likely  to  give  his  work  away  for  less  than  it  is  worth,  as 


BUSINESS    MANAGEMENT.  135 

will  a  man  who  has  never  had  to  earn  his  living  as  a  com- 
positor or  pressman — and  that  is  a  strong  point  in  his 
favor. 

BUYING   PLANT   AND    MATERIALS. 

After  a  printer  has  been  carrying  on  business  for  a 
number  of  years,  he  looks  back  and  sees  some  of  the 
mistakes  which  he  has  made  during  that  time,  and 
mentally  remarks  that  if  he  were  to  have  his  time  over 
again  he  would  do  many  things  differently. 

As  he  walks  around  his  establishment  and  takes  an 
inventory  of  his  plant  and  appliances  for  carrying  on  his 
business,  he  is  apt  to  make  a  comparison  between  the 
amount  of  money  it  has  cost  him  and  its  intrinsic  value  at 
the  present  time  —  the  result  often  being  far  from 
encouraging.  He  sees  some  things  nearly  worn  out  and 
others  quite  so,  and  unless  he  has  been  allowing  a  proper 
amount  each  year  for  depreciation,  his  thoughts  are  likely 
to  be  very  gloomy.  He  thinks  of  many  things  for  which 
he  has  paid  high  prices  that  have  not  yielded  him  the 
profits  he  expected.  Some  of  them  he  could  have  done 
almost  as  well  without.  He  sees  materials  which  have  not 
been  bought  in  proper  proportions,  the  result  being  that 
one-half  of  such  materials  were  never  brought  into  profit- 
able use.  And  so  he  mutters  to  himself  as  he  returns  to 
his  office,  "  If  I  had  the  buying  of  this  plant  over  again, 
I  would  buy  differently." 

Is  this  merely  an  imaginary  picture  ?  Or  is  it  what 
may  be  found  in  actual  fact  ?  Nine  printers  out  of  every  ten 
will  be  ready  to  admit  that  it  is  more  fact  than  fiction. 

Now,  that  being  the  case,  will  it  not  be  of  advantage 
to  those  who  are  only  now  beginning  to  buy  if  they  can 
get  some  few  pointers  on  the  subject  ?  Undoubtedly  it 


136  THE   PRACTICAL   PRINTER. 

will ;  and  with  a  view  to  this  end  the  writer  ventures  to 
make  the  following  suggestions  : 

In  the  first  place  let  it  be  distinctly  remembered  when- 
ever purchases  are  being  made  that  "  the  best  is  the 
cheapest."  Well,  of  course,  that  saying  is  as  old  as  the 
hills;  but  that  is  in  its  favor,  so  don't  forget  it.  Low- 
priced  articles  are,  as  a  rule,  dear  enough  in  the  end.  It 
is  better  to  buy  less  in  quantity  and  have  more  quality. 
This  is  especially  the  case  with  presses  and  machinery. 
It  is  best  to  buy  presses  of  standard  makes  that  have  a 
reputation  among  printers  generally ;  though  there  may  be 
now  and  then  some  really  good  article  that  has  yet  to 
make  its  name,  and  in  such  cases  it  is  well  to  look  closely 
into  its  merits  j  but  great  caution  is  needed  in  buying  a 
new  invention. 

Having  decided  to  put  in  a  certain  make  of  press,  it  is 
better  to  buy  several  of  that  kind  than  to  have  a  variety. 
And  this  for  various  reasons,  not  the  least  important  of 
which  is  that  all  your  pressmen  get  used  to  them  and  can 
easily  change  off  from  one  to  another.  The  manufacture 
of  printing  presses  has  reached  such  a  point  that  there 
really  is  not  much  choice  between  the  several  standard 
and  accepted  makes  ;  of  course,  special  kinds  of  work 
will  sometimes  call  for  special  presses,  but  this  does  not 
weaken  the  point  in  the  least. 

The  same  remarks  apply  to  machinery  of  every 
description  in  each  department. 

And  type  is  no  exception  to  this  rule,  either  ;  for 
unless  it  come  from  a  good  foundry,  where  the  appliances 
are  of  the  most  approved  kind  and  the  metal  is  of  the 
best,  it  would  be  real  economy  to  throw  it  away,  rather 
than  suffer  the  loss  it  will  occasion  if  once  put  into  use. 

In   buying  for  the  job  composing  room  great  care 


BUSINESS   MANAGEMENT.  137 

should  be  exercised.  Here,  everything  should  be  not  only 
of  the  best,  but  in  proper  proportions.  It  too  often  hap- 
pens that  the  contents  of  a  job  composing  room  gives  the 
idea  that  the  buying  has  been  done  by  half  a  dozen  different 
individuals,  each  acting  independently  of  the  other  ;  for 
instead  of  there  being  harmony  and  proportion  in  the  differ- 
ent kinds  and  quantities  of  types  there  is  just  the  reverse. 

Now,  with  regard  to  harmony  of  design  and  character 
it  is  a  great  mistake  to  attempt  to  carry  all  the  various 
faces  that  are  made  by  all  the  typefounders.  What  should 
be  aimed  at  is  the  bringing  together  of  such  of  the  best 
designs  as  will  make  a  harmonious  whole.  At  the  same 
time,  contrast  must  not  be  lost  sight  of  ;  for  contrast  and 
harmony  are  both  essential  to  make  the  beautiful  in  design 
or  color. 

Then,  with  regard  to  proportion,  there  is  just  as  much 
care  needed.  It  is  better  to  buy  all  the  sizes  that  are 
made  of  a  certain  face  than  to  pick  out  two  or  three  sizes 
at  long  intervals.  If  you  have  the  whole  of  a  series,  it 
will  be  of  more  use  to  you  than  twice  the  amount  picked 
out  from  several  series  ;  though,  of  course,  where  a  man 
has  limited  capital  and  yet  has  to  have  some  measure  of 
variety,  he  may  find  it  difficult  to  purchase  the  whole 
series  of  each  kind  of  type. 

But  this  brings  us  to  the  most  important  part  of  our 
subject,  and  that  is  the  difference  between  buying  many 
kinds  and  buying  much  of  a  kind. 

IT  IS  BETTER  TO  HAVE  FEWER  KINDS 
AND  PLENTY  OF  THEM  THAN  TO  HAVE 
MORE  KINDS  AND  LITTLE  OF  THEM. 

One  hundred  fonts  of  job  type,  weighing  four  hundred 
pounds  in  the  aggregate,  will  be  twice  as  useful  as  two 
hundred  fonts  weighing  the  same  amount. 


138  THE    PRACTICAL    PRINTER. 

It  is  safe  to  say,  where  there  are  so  many  kinds,  not 
more  than  one-third  of  them  are  brought  into  actual  daily 
use.  The  rest  lie  in  their  shrouds  of  dust  waiting  for  the 
day  when  they  will  return  to  the  melting  pot. 

Of  course,  all  that  has  been  said  about  type  applies 
equally  to  wood  letters.  Indeed,  so  far  as  the  question  of 
small  fonts  is  concerned,  there  is  a  special  need  for  care 
in  regard  to  wood  letter,  as  the  fonts  contain  fewer  letters 
of  each  kind.  What  is  the  use  of  a  three  A  font  in  an 
office  where  much  poster  work  is  done  ?  It  is  worse  than 
useless ;  and  yet,  how  many  such  fonts  there  are. 

Type  and  printing  materials  have  two  values :  one  is 
the  price  they  will  sell  for,  and  the  other  is  the  amount 
they  can  be  made  to  earn.  But  whether  this  latter  value 
is  commensurate  with  their  cost  depends  more  upon  how 
they  were  bought  than  upon  how  much  was  paid  for 
them. 

There  is  another  point  of  importance  to  be  mentioned, 
and  that  is  the  advisability  of  buying  a  sufficiency  of 
quads  and  spaces,  leads  and  reglets,  furniture  and  quoins. 
These  materials  cost  less  than  anything  else,  and  yet 
they  play  a  very  large  part  in  the  operations  of  every-day 
business. 

COST   OF   PRINTING    INK. 

A  very  important  item  of  expense  in  running  a  printing 
business  is  that  of  ink,  and  yet  it  is  often  left  out  of  calcu- 
lation when  prices  are  being  given  for  work.  Of  course, 
it  may  be  that  in  the  majority  of  jobs  the  ink  forms  but  a 
proportionately  small  part  of  the  entire  cost,  but  that  is 
no  reason  why  it  should  be  left  out  of  our  calculations 
entirely,  for  there  are  times  when  it  forms  a  large  propor- 
tion, and  if  we  get  into  the  habit  of  neglecting  it  all  the 


BUSINESS   MANAGEMENT.  13$ 

time,  the  chances  are  that  we  shall  forget  it  when  it  should 
be  thought  of. 

Granting  that  the  quantity  used  on  a  single  thousand 
of  a  small  job  is  but  very  little,  how  about  figuring  on  ten 
thousand  of  the  same  job?  Is  it  not  the  rule  to  say, 
"Well,  the  composition  is  the  same,  the  paper  will  be  ten 
times  as  much,  the  presswork  so  much  per  thousand  runs 
after  the  first  thousand,"  and  to  omit  the  ink  entirely? 
Then,  on  printing  a  single  thousand  a  trifle  better  price  is 
generally  charged,  which  may  cover  the  cost  of  the  ink ; 
but  when  a  larger  quantity  is  figured  on  the  price  has  to 
be  made  proportionately  lower,  and  unless  the  ink  be 
made  an  item  in  figuring  the  cost,  it  will  certainly  be  an 
item  in  the  lost  profit. 

Then,  again,  the  habit  of  leaving  it  out  of  our  calcula- 
tions entirely  results  in  ignorance  of  what  quantity  to 
allow  for  when  it  has  to  be  considered.  How  few  seem 
able  to  calculate  the  quantity  of  ink  required  to  run  a 
certain  number  of  any  job  !  Say,  for  instance,  on  poster 
work.  A  case  came  under  the  notice  of  the  writer  where 
the  cost  of  the  ink  used  on  two  thousand  three-sheet  block 
bills,  printed  in  red  and  black,  came  to  one-third  the 
amount  charged  for  the  job ;  whereas  the  person  who  did 
the  figuring  had  just  allowed  a  "dollar  or  two  "  extra  for 
the  red  ink. 

It  is  difficult  to  lay  down  any  definite  rule  as  to  the 
quantity  required  on  different  jobs,  as  they  vary  so  much, 
but  what  is  urged  is  the  importance  of  taking  the  matter 
into  consideration.  After  a  little  practice  any  man  with 
ordinary  ability  to  figure  will  be  able  to  calculate  closely 
enough  to  prevent  making  a  loss  on  that  score. 

It  is  well  to  bear  in  mind,  too,  that  certain  colors  go 
further  than  others.  The  writer  has  a  small  memorandum 


140  THE    PRACTICAL    PRINTER. 

book  in  which  are  jotted  down  points  of  importance  in 
regard  to  ink  and  other  matters  that  affect  the  cost  of 
production,  and  on  the  ink  page  is  a  line  which  reads  — 
"  Beware  of  red  i  " 

There  is  no  economy  in  using  poor  ink  because  it 
appears  cheap.  A  better  grade  will  often  be  cheaper 
in  the  end,  as  it  will  go  further  and  work  better,  saving 
not  only  on  the  bulk  of  ink  used,  but  also  saving  in  the 
time  of  pressmen  and  presses. 

COST    OF    STOCK. 

In  figuring  the  cost  of  stock,  too  much  care  cannot  be 
taken,  as  when  a  mistake  occurs  here  it  is  likely  to  be  a 
serious  one.  There  is  a  great  tendency  on  the  part  of 
printers  to  "guess"  at  the  cost  of  stock  used  on  small 
jobs.  Now  this  is  not  safe  in  practice,  for  the  habit  of 
guessing  in  small  matters  will  lead  to  guessing  in  large 
matters  and  a  wrong  guess  may  cause  the  loss  of  many 
dollars.  The  few  minutes  extra  time  required  to  arrive 
at  accurate  figures  will  not  be  time  thrown  away.  The 
only  safe  way  of  conducting  business  is  knowing  without 
doubt  just  what  you  are  doing  and  how  much  profit  you  are 
making  on  each  transaction.  To  some  it  might  appear  that 
this  would  be  a  difficult  matter.  But  it  really  is  not  so 
when  once  the  mind  is  made  up  to  accomplish  it. 

Certainly,  in  the  matter  of  the  cost  of  stock  it  is  easy 
enough,  provided  you  take  the  trouble  to  figure  at  all. 

The  following  eight  tables  will  be  found  of  great  service 
in  figuring  on  the  cost  of  stock  used  in  small  quantities,  as 
they  show  at  a  glance  the  cost  per  pound,  ream  and  quire, 
of  paper  of  any  weight  from  eight  to  seventy  pounds,  and 
at  any  price  from  6  to  20  cents  a  pound,  rising  by  quarters 
of  a  cent. 


BUSINESS    MANAGEMENT. 


141 


TABLE  I. 

Weight,  8  to  1 6  Ibs.     Price,  6c.  to  I2^c.  per  Ib. 


Weight  - 

8  Ib. 

10  Ib.               12  Ib. 

14  Ib. 

i61b. 

Trice  perlb. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

6c  

$0.48 

•03 

$0.60 

•03 

$0.72 

.04 

$o  84 

•05 

^0.96 

•05 

6X  

0.50 

•03 

0.63 

.04 

0,75 

.04 

0.88 

.05 

I.OO 

-05 

6^  

0.52 

•03 

0.65 

.04 

0.78 

•04 

0.91 

.05 

1.04 

.06 

63/ 

O    ^4 

O7 

0.68 

O4. 

0.81 

oc 

O    QC 

OS 

1  .08 

06 

7  

^  •  j^t 
0.56 

•     J 

.03 

0.70 

•  ^T1 

.04 

0.84 

•     J 
.05 

w  •  yj 
0.98 

.  w  J 

.05 

I  .  12 

.06 

7*  

0.58 

•  03 

0-73 

.04 

0.87 

•05 

.02 

.06 

1.16 

.06 

7!^ 

O.6O 

•°3 

o  7q 

.04 

O   QO 

.OS 

CK 

.06 

I  .  20 

.06 

73/ 

O.62 

.04 

•  /  j 
0.78 

.04 

v»  .  yw 

O    Q3 

•     J 

oc; 

•     j 
OQ 

.06 

I  .24 

.07 

8  

0.64 

.04 

0.80 

.04 

•  yO 

o  06 

•      J 

.05 

•    y 
.  12 

.06 

1.28 

.07 

8*/ 

0.66 

.04 

0.83 

•°S 

•^  .  y~> 
O    QQ 

.05 

.16 

.06 

1  .32 

.07 

8^ 

0.68 

.04 

0.85 

.05 

.  ^y 
I  .02 

.06 

.  IQ 

.06 

1.36 

.07 

8^  

0.70 

04 

0.88 

.05 

1.05 

.06 

•  *y 

•23 

.07 

1.40 

.07 

9  

0.72 

.04 

0.90 

.05 

I.  08 

.06 

.26 

.07 

1  .44 

.08 

Ql/ 

0.74 

04 

o.cn 

.05 

I  .  1  1 

.06 

7Q 

.07 

1.48 

.08 

9tf  .... 

0.76 

.04 

yj 
o-95 

.05 

I.I4 

.06 

•  o 

•33 

.07 

!-52 

.08 

9^  

0.78 

.04 

0.98 

•05 

I.I7 

.06 

•  37 

•07 

1.56 

.08 

10  

0.80 

.04 

i  .00 

.05 

I  .  2O 

.06 

.40 

07 

1.  60 

.08 

ioX  .... 

0.82 

.05 

1.03 

.06 

1.23 

.07 

•44 

.08 

1.64 

.09 

I0#  

0.84 

•05 

1-05 

.06 

1.26 

.07 

•47 

.08 

1.68 

.09 

10^  

0.86 

•°5 

i.  08 

.06 

1.29 

.07 

•51 

.08 

1.72 

.09 

1  1 

0.88 

oc 

I  .  IO 

.06 

I     72 

O7 

CA 

08 

i  76 

OQ 

»x  

0.90 

•  ^J 

.05 

1.13 

.06 

•  '3* 
1-35 

•  w/ 
.07 

•  JT- 
•58 

.08 

1  •  i 
i.  80 

•  wy 

.09 

nK  

0.92 

.05 

1.15 

.06 

1.38 

.07 

.61 

.09 

1.84 

.  10 

»#  

0.94 

.05 

1.18 

.06 

I.4I 

.08 

.65 

.09 

1.88 

.10 

12  

0.96 

oc 

i  .20 

.06 

I  .44 

.08 

.68 

oo 

•     " 

I    Q2 

.  IO 

"X  

0.98 

•  v  J 

.05 

1.23 

.07 

1.47 

.08 

.72 

.09 

*  .  y^. 
1.96 

.10 

I2#   

1.  00 

•05 

1-25 

.07 

1-50 

.08 

•  75 

.09 

2.OO 

.10 

«#   

1  .02 

.06 

1.28 

07 

1-53 

.08 

•79 

.09 

2.O4 

.11 

142 


THE   PRACTICAL   PRINTER. 


TABLE  II. 
Weight,  8  to  1 6  Ibs.     Price,  130.  to  2OC. 


Weight  - 

81b. 

10  Ib. 

12  Ib. 

14  Ib. 

i61b. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

nc  .  . 

$I.O4 

.06 

I  .30 

.07 

1.56 

.08 

1.82 

.  IO 

2.08 

.  II 

I  .06 

.06 

1-33 

.07 

1-59 

.08 

1.86 

.  IO 

2.  12 

.  II 

1  -7  i/ 

1.  08 

.06 

i-35 

.07 

1.62 

.09 

1.89 

.10 

2.16 

.11 

13^  

I  .  IO 

.06 

1.38 

.07 

1.65 

09 

1-93 

.10 

2.  2O 

.11 

14     

I     12 

.06 

i  .40 

.07 

1.68 

.09 

i  06 

.  10 

2.24 

.12 

.06 

1-43 

.08 

1.71 

.09 

•  yv 

2.OO 

.10 

2.28 

.12 

I  A    I/ 

1.16 

.06 

1  .4^ 

.08 

i  .74 

.09 

2   O7 

.  II 

2.32 

.  12 

I4j^      

1.18 

.06 

•  TO 

1.48 

.08 

i-77 

.09 

•    o 

2.07 

.11 

2.36 

.12 

I1?      .    • 

i  .20 

.06 

I.  SO 

08 

i.  80 

09 

2.  IO 

.11 

2.40 

.  12 

I  .22 

.07 

.    JV^ 

i-53 

.08 

1-83 

.  IO 

2.14 

.  II 

2.44 

•13 

1  5  /'z  .  •  •  .  • 

1.24 

.07 

i-55 

.08 

1.86 

.  10 

2.17 

.  II 

2.48 

-13 

T    £  3/ 

1.26 

O7 

I    eg 

.08 

i  80 

.  IO 

2.  21 

.  12 

2    S2 

I  7 

16  

1.28 

•     / 
.07 

J.    .   3<_> 

1.  60 

.08 

•  ^y 
I  .92 

.10 

2.24 

.12 

*••  j« 

2.56 

O 
.13 

1.30 

.07 

1.63 

.09 

1-95 

.10 

2.28 

.  12 

2.60 

13 

16^  

1.32 

.07 

1.65 

.09 

1.98 

.10 

2.31 

.12 

2.64 

•H 

16%  

L34 

.07 

1.68 

.09 

2.01 

.11 

2-35 

.12 

2.68 

•14 

17  

1.36 

.07 

i  .70 

.09 

2.O4 

.11 

2.38 

.12 

2.72 

.14 

1.38 

.07 

i  .73 

09 

2.O7 

.  II 

2.42 

.13 

2.76 

*4 

i7i/2  

1  .40 

.07 

'•75 

.09 

2.10 

.  II 

2.45 

•13 

2.80 

14 

17^  

1.42 

.08 

1-78 

.09 

2.13 

.  II 

2.49 

•J3 

2.84 

•15 

18    

1  .44 

.08 

i.  80 

.09 

2.16 

.  II 

2.52 

j  -, 

2.88 

.15 

1  .46 

.08 

1.83 

.10 

2.19 

.  II 

2.56 

.13 

2.92 

•15 

18^  

1.48 

.08 

i.85 

.10 

2.22 

.  12 

2-59 

•13 

2.96 

15 

18^  

1.50 

.08 

1.88 

.10 

2.25 

.  12 

2.63 

.14 

3.00 

•15 

10 

I     S2 

.08 

I    QO 

.  10 

2.28 

.  12 

2.66 

•  14 

1  04 

.16 

•  j 

i-54 

.08 

*  jr* 

1-93 

.10 

2.31 

.12 

2.70 

.14 

o      T 

3.08 

.16 

I  O  \^    

1.56 

.08 

1-95 

.10 

2-34 

.  12 

2-73 

.14 

3.12 

.16 

2O       

1.  60 

.08 

2.00 

.10 

2.40 

.  12 

2.80 

.14 

3.20 

.16 

BUSINESS    MANAGEMENT. 


143 


TABLE  III. 

Weight,  1 8  to  26  Ibs.     Price,  6c.  to  I2^c.  per  Ib. 


Weight  - 

18  Ib. 

20  Ib. 

22  Ib. 

24  Ib. 

26  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

6c 

$1  .08 

.06 

$1  .20 

.06 

$1  .  32 

.07 

$!  -44 

.08 

$1    56 

.08 

6X  

I-I3 

.06 

1-25 

.07 

#"•  •  o 

1.38 

.07 

1.50 

.08 

»p*  •  j  v 
1.63 

.09 

(>1A 

I  .  17 

.06 

I  .30 

.07 

I  .43 

.08 

1.56 

.08 

I.  6q 

.09 

(>x  

1.22 

.07 

o 

i-35 

.07 

1.49 

.08 

•  j 
1.62 

.09 

.  v^f 
I.76 

.09 

7  

1.26 

.07 

i  .40 

.07 

i-54 

.08 

1.68 

.09 

1.82 

.10 

rA  

1.31 

.07 

1-45 

.08 

i  .60 

.08 

1.74 

.09 

1.89 

.10 

r/2  

i-35 

.07 

1.50 

.08 

1.65 

.09 

i.  80 

.09 

i-95 

.10 

7#  

i  .40 

.07 

1-55 

.08 

1.71 

.09 

1.86 

.IO 

2.  02 

.11 

8  

1.44 

.08 

i.  60 

.08 

1.76 

.09 

1.92 

.  IO 

2.08 

.11 

8X  

1.49 

.08 

1.65 

.09 

1.82 

.  10 

1.98 

.  IO 

2.15 

.11 

8^  

1-53 

.08 

1.70 

.09 

1.87 

.10 

2.04 

.11 

2.21 

.12 

«#  

1.58 

.08 

»-7S 

.09 

i-93 

.10 

2.10 

.11 

2.28 

.  12 

9      .... 

1.62 

OQ 

i.  80 

OQ 

i  g8 

.  IO 

2.16 

.  II 

2    34 

.  12 

gi/ 

1.67 

•     y 
OQ 

i  8s 

•     y 
.  IO 

*  •  y^> 
2.O4 

.  II 

2.22 

.  12 

m  '  OT* 
2   4.1 

.  13 

V1A 

1.71 

•     ? 
.09 

•  w  j 
i  .90 

.  IO 

2.O9 

.11 

2.28 

.  12 

.  «t* 

2-47 

•     O 

.13 

s  /  & 

9%  

1.76 

.09 

1-95 

.  10 

2.15 

.  II 

2-34 

.  12 

2-54 

•13 

10  

i.  80 

OQ 

?.  .00 

.  IO 

2.  2O 

.  1  1 

2.40 

.  12 

2.6o 

•  13 

ioX  

1.85 

•  ^y 
.10 

2.05 

.  II 

2.26 

.  12 

2.46 

•13 

2.67 

•  14 

10^  

1.89 

.IO 

2.10 

.11 

2.3I 

.12 

2.52 

•13 

2-73 

.14 

10^  

1.94 

.  IO 

2.15 

.11 

2-37 

.12 

2.58 

13 

2.80 

.H 

II  

1.98 

.10 

2.20 

.11 

2.42 

•13 

2.64 

•14 

2.86 

•15 

"X  

2.03 

.11 

2.25 

.12 

2.48 

•13 

2.70 

•14 

2-93 

•15 

UK.... 

2.07 

.11 

2.30 

.12 

2-53 

-13 

2.76 

•14 

2-99 

•15 

11^  

2.  12 

.11 

2-35 

.  12 

2.59 

,13 

2.82 

•15 

3.o6 

.16 

12  

2.16 

.11 

2.4O 

.  12 

2.64 

•14 

2.88 

•15 

3.12 

.16 

I2#  

2.21 

.12 

2.45 

•13 

2.70 

.14 

2-94 

•15 

3.19 

.16 

»#  

2.25 

.12 

2.50 

-13 

2-75 

•H 

3.00 

•15 

3-25 

•17 

"#  

2.30 

.12 

2-55 

•!3 

2.81 

•15 

3-06 

.16 

3-32 

•17 

144 


THE     PRACTICAL    PRINTER. 


TABLE  IV. 
Weight,  1 8  to  26  Ibs.     Price,  130.  to  2Oc.  per  Ib. 


"Weight  - 

i81b. 

20  Ib. 

22  Ib.      ||       24  Ib.             26  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

I3<=  

$2.34 

.12 

$2.60 

.!3 

$2.86 

.!5 

$3.J2 

.16 

#3-38 

•17 

13*  

2-39 

.12 

2.65 

•14 

2.92 

•15 

3-l8 

.16 

3-45 

.18 

j  ^  T/ 

2   43 

13 

2    7O 

•  *4 

2    Q7 

JC 

•5    24 

17 

1    51 

.18 

'3*:  

•"  •  T-  J 
2.48 

•  *  3 
•13 

~'i" 

2-75 

•  y/ 
3-03 

•  x  j 
.16 

o  •  **r 
3.30 

•  *  / 
•17 

3.58 

.18 

14  

2.52 

•13 

2.80 

•14 

3.08 

16 

3.36 

•17 

3  64 

•19 

14.  i/      . 

2    57 

1  3 

2    85 

J  £ 

3  •  '4 

.16 

•2    4.2 

.18 

•3     7T 

IQ 

j  i 
2.61 

•H 

'  •  ^  j 
2.90 

•15 

3.19 

.16 

O  '  T" 
3.48 

.18 

3  •  1  * 

3  77 

19 

143^ 

2.66 

14 

2   05 

J    - 

3  •  25 

17       ?    c/i 

.18 

7    84. 

.  20 

15  .... 

2.70 

' 

*  :7J 
3.OO 

3.30 

•  *•  i 
.17 

3.60 

.18 

3  •  °T- 
3QO 

.  20 

1  5  i/ 

2-  75 

14 

•2     Q5 

.16 

3  36 

17 

3.66 

•  y 
3Q7 

20 

*j/t  •  • 

2.79 

•  xir 

•14 

O  •     D 
3.10 

.16 

O  •  3 
3.41 

•    / 
.18 

3.72 

.19 

•  y/ 
4.03 

.21 

j  f-7/ 

2.84 

•  1S 

3-  J5 

.16 

3-47 

.18 

3.78 

•  I9 

4  10 

.  21 

16  

2.88 

15 

3.20 

.16 

3-52 

.18 

3^4 

.20 

4.16 

.21 

i6X  

2-93 

•  15 

3-25 

•17 

3-58 

.18 

3-90 

20 

4-23 

.22 

16^  

2.97 

15 

3-30 

17 

3-63 

•19 

3.96 

.20 

4.29 

.22 

16*  

3.02 

.16 

3-35 

•17 

3-69 

.19 

4.02 

.21 

4.36 

.22 

17  

3.06 

.16 

3.40 

.17 

3.74 

•  19 

4.08 

.21 

4.42 

.23 

'7*  

3." 

.16 

3-45 

.18 

3-80 

4.14 

.21 

4-49 

•23 

I71/     . 

•J     JC 

.16 

•2    50 

.18 

•7     85 

.  20 

4.2O 

.21 

4.    55 

23 

I73/   . 

J  •  *-J 

3  20 

.16 

O  •  J 

3-55 

18 

3  •  ^J 
3.91 

.20 

4.26 

.22 

*Ta  JJ 

4.62 

•     3 
.24 

18  

3.24 

.  17 

3.60 

.18 

3.96 

.20 

4.32 

.22 

4.68 

3-29 

.17 

3.65 

.19 

4.02 

.21 

4.38 

.22 

4-75 

•24 

18^  

3-33 

•-I.7 

3-70 

.19 

4.07 

.21 

4-44 

•23 

4.81 

-25 

183^  

3.38 

-17 

3-75 

.19 

4.12 

.21 

4-50 

•23 

4.88 

-25 

IQ 

•3    4.2 

.18 

3.80 

IQ 

4.  18 

.21 

4.56 

.23 

4-94 

.25 

19*   

3  •  *T^ 

3.47 

.18 

3  85 

•    y 
.20 

4.24 

.22 

4.62 

-24 

5.01 

.26 

19^   

3-51 

.18 

3  90 

.20 

4.29 

.23 

4.68 

.24 

5-°7 

.26 

20  

3-6o 

.18 

4.00 

.20 

4.40 

.22 

4.80 

.24 

5.20 

.26 

BUSINESS    MANAGEMENT. 


145 


TABLE  V. 

Weight,  28  to  36  Ibs.     Price,  6c.  to  I2^c.  per  Ib. 


Weight  - 

28  Ib. 

30  Ib. 

32  Ib. 

35  Ib. 

36  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

6c    

$1.68 

.09 

$1.80 

.09 

$1.92 

.  IO 

$2.  1C 

.  II 

02.16 

.11 

6*/ 

I  .75 

.09 

1.88 

.  IO 

2  .OO 

.  IO 

2.  19 

.  II 

2.25 

.  12 

6^  

1.82 

.10 

1-95 

.10 

2.08 

.11 

2.28 

.12 

2.34 

.  12 

6^  

1.89 

.10 

2.03 

.11 

2.16 

.11 

2-37 

.  12 

2.43 

•13 

7 

2    q6 

.  10 

2.  IO 

.  II 

2    24 

.  12 

2   4; 

1  1 

2  .52 

T  7. 

•  »f»* 

2.03 

.  II 

2.18 

.  II 

*  •       T" 
2.32 

.12 

•  '  TO 
2-54 

.13 

2.6l 

•H 

^  

2.  10 
2.  17 

.11 

.  II 

2.25 

2.  33 

.12 
.  12 

2.4O 

2   48 

.12 

2.63 

2    72 

-14 
14 

2.70 

2  .  79 

.14 

8      

2.24 

.  12 

2.40 

.12 

—  •  *r*J 
2.56 

•13 

•*•  •  / 
2.80 

•  *t 

•14 

2.88 

•15 

8^  

2.3I 

.12 

2.48 

•13 

2.64 

•14 

2.89 

-15 

2.97 

•15 

8>£  

2.38 

.12 

2-55 

•13 

2.72 

.14 

2.98 

•15 

3-06 

.16 

8^  

2.45 

•13 

2.63 

H 

2.80 

•14 

3.07 

.16 

3-15 

.16 

9      

2.  C.2 

I? 

2    7O 

14 

2.88 

JC 

7     1C 

.16 

7    24 

17 

•*•  •  j^ 
2.50 

•     O 

**  ,  j  \j 
2.78 

2    06 

•     J 

O  •      J 

7    24 

17 

O  •  ^T- 
7     77 

•  *  / 
17 

9y2  

•  J  y 

2.66 

.14 

•15 

.£>  .  ^  \J 
3-04 

.16 

O  '       T" 

3-33 

•  •  / 
•17 

J  •  OJ 
3-42 

•  *  / 
.18 

9^  

2.73 

•14 

2-93 

•  J5 

3.12 

.16 

3-42 

.18 

3-51 

.18 

10        

2.80 

•14 

3.00 

•15 

3-20 

.16 

3.50 

.18 

3-60 

.18 

10%  

2.87 

•15 

3.08 

.16 

3.28 

•17 

3-59 

.18 

3-69 

.19 

10^   

2-94 

•15 

3-15 

.16 

3.36 

•17 

3.68 

•19 

3.78 

19 

io^f  

3.01 

•15 

3-23 

•17 

3.44 

.18 

3-77 

.19 

3.87 

.20 

II      

3-o8 

.16 

3.30 

•  J7 

3.52 

.18 

3-85 

.20 

3.96 

.20 

nX  

3.15 

.16 

3.38 

•  17 

3.60 

.18 

3-94 

.20 

4-05 

.21 

11^  

3.22 

.17 

3-45 

.18 

3-68 

.19 

4-03 

.21 

4.14 

.21 

11^  

3-29 

•17 

3-53 

.18 

3-76 

.19 

4.12 

.21 

4.23 

.22 

12        

3.36 

.17 

3.60 

.18 

3.84 

.20 

4.20 

.21 

4.32 

.22 

12^  

3-43 

.18 

3.68 

.19 

3-92 

.20 

4.29 

.22 

4-41 

•23 

12^  

3-50 

.18 

3-75 

•19 

4.00 

.20 

4.38 

.22 

4-50 

•23 

12%  

3-57 

.18 

3.83 

.20 

4.08 

.21 

4-47 

•23 

4-59 

.23 

146 


THE    PRACTICAL    PRINTER. 


TABLE  VI. 

Weight,  28  to  36  Ibs.     Price,  130.  to  2oc.  per  Ib. 


Weight  - 

28  Ib. 

30  Ib. 

32  Ib. 

35  Ib. 

36  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

I  7C  .  . 

$-1   64 

iq 

5"?    QO 

.20 

$4.l6 

.  21 

\A    trc 

27 

$4.68 

24 

I'M. 

JP  J  •  V1T 

7   71 

.  *  y 
10 

iPj  '  y*+ 
1    08 

.  20 

4   24 

.  22 

P*fr*  JD 

464 

•  ^  J 

24. 

4   77 

.  f>t\ 
24 

iVA 

v>   •    / 

^.78 

•    y 
10 

o  •  y 

A     OS 

.21 

t  •  **t 

4    -22 

.  22 

.  V/iJ. 

4.   77 

•  ^T- 

24. 

^r  '  1  1 

4  86 

•  *T- 

2C 

'33/  

o  •  / 

3-85 

•       .7 
.20 

*r  •  VJ 
4-13 

.21 

*r  •  O 

4  40 

.22 

T"  /  O 

4.82 

•  •^''r 

•25 

t  .  <-"-> 
4-95 

•  ^  J 
•25 

14    

3v92 

.  2O 

4.2O 

.21 

4.48 

•23 

4.90 

•25 

5-04 

.26 

i4#  

3-99 

.20 

4.28 

.22 

4-56 

•23 

4-99 

•25 

5-13 

.26 

i4i< 

4.06 

.  21 

4    7C 

.  22 

4-  ^4 

•  24 

q  08 

.26 

;    22 

27 

'4#  

4.13 

.21 

T"  *  O  J 

4-43 

•23 

4.72 

.24 

j  •  vy<-7 

5-17 

.26 

j  .  **** 
5-31 

•  *•/ 

.27 

15  

4.  20 

.21 

4    ^O 

2^ 

4.80 

.24 

c  2t; 

27 

c  40 

27 

i5X  

4.27 

.22 

*t   j 

4.58 

•    »J 

•23 

4.88 

-25 

j  •   j 
5-34 

•     / 

.27 

j  •  *rw 

5-49 

•      / 

.28 

i5^  

4-34 

.22 

4.65 

.24 

4.96 

•25 

5-43 

.28 

5.58 

.28 

'5#  

4.41 

•23 

4-73 

.24 

5-04 

.26 

5.52 

.28 

5.67 

.29 

16  

4.48 

.23 

4.80 

.24 

5  I2 

.26 

<  60 

.28 

5.76 

20 

i6X  

4-55 

•23 

4.88 

•25 

5.20 

.26 

o  • 

5.69 

•29 

J  *  / 

5.85 

•        .7 
•30 

16^  

4.62 

.24 

4-95 

•25 

5.28 

.27 

5.78 

.29 

5-94 

•30 

i63/ 

4.69 

.24 

5.03 

.26 

5.36 

.27 

S-87 

.3d 

6.03 

.31 

/T 

17 

4   76 

.  24 

c   10 

.26 

c   44. 

28 

J  •  "/ 

c   nc 

70 

6.12 

71 

17^  

T"  •  /  w 

4.83 

•25 

J  • 

5.18 

.26 

j  •  *r*t 

5-52 

.28 

j  •  yj 
6.04 

•  ow 

•31 

6.21 

•  o* 

-32 

'7#  

4.90 

•25 

5.25 

•27 

5.60 

.28 

6.13 

•  31 

6.30 

•32 

I73/  . 

4.  07 

2S 

C  .  "2-2 

27 

t;  68 

20 

6.22 

72 

6    70 

72 

18  

*T  '  .7/ 

c  04 

•     J 
.26 

J  •  JO 

^   4-O 

•     / 
•  27 

j  • 
^.76 

•    y 

20 

6  70 

•  o 
72 

**  •  J:? 
6.48 

•  O 
77 

i8X  

J  •  V*T 
5.II 

.26 

J  •  Tw 

5.48 

.28 

j  •  / 
5-84 

•       7 
-30 

w  •  J^y 

6-39 

•  ») 
•32 

6-57 

•  OJ 

•  33 

i&'A  

5.18 

.26 

5-55 

.28 

5.92 

•30 

6.48 

•  33 

6.66 

•34 

'8*  

5-25 

.27 

5-63 

•29 

6.00 

•30 

6.57 

•33 

6.75 

•34 

19           

^    72 

27 

c  70 

.29 

6.08 

^1 

6  6s 

74 

6.84 

7^ 

I9#  

J  •  O 

5-39 

.27 

D  •  I 
5-78 

.29 

6.16 

•  o 

•31 

V   .    V^  J 

6.74 

•  OT^ 

•  34 

6-93 

•  OJ 

•35 

I9>2    

5.46 

.28 

5.85 

•30 

6.24 

-32 

6.83 

•35 

7.02 

.36 

20    .    ... 

5.60 

.28 

6.00 

•30 

6.40 

•32 

7.00 

35 

7.20 

.36 

BUSINESS    MANAGEMENT. 


147 


TABLE  VII. 
Weight,  40  to  70  Ibs.     Price,  6c.  to  I2^c.  per  Ib. 


Weight   - 

40  Ib. 

45  Ib. 

50  Ib. 

60  Ib. 

70  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

6c  

$2.40 

.  12 

$2.70 

.14 

$3-°° 

•15 

$3-60 

.18 

$4-20 

.21 

6^  

2.50 

•13 

2.82 

15 

3.13 

.16 

3-75 

.19 

4.38 

.22 

6^  

2.60 

•13 

2-93 

•15 

3-25 

•17 

3  90 

.20 

4-55 

•23 

*#  

2.70 

•H 

3-°4 

.16 

3-38 

•17 

4-05 

.21 

4-73 

.24 

7  

2.80 

•H 

3-15 

.16 

3-50 

.18 

4.20 

.21 

4.90 

•25 

7  1/ 

2.90 

1C 

1  26 

.17 

1    6l 

.19 

4-35 

.  22 

5.08 

.26 

r/*  

3.00 

J 
•15 

j  • 
3.38 

•  17 

o  •    o 

3-75 

.I9 

4.5o 

•23 

5-25 

.27 

7^  

3  10 

.16 

3-49 

.18 

3-88 

.20 

4-65 

•24 

5-43 

.28 

8  

3.20 

.16 

3.60 

.18 

4.00 

.20 

4.80 

.24 

5.60 

.28 

«X  

3-30 

.17 

3-72 

.19 

4.13 

.21 

4-95 

-25 

5.78 

29 

8^  

3-40 

•17 

3-83 

.20 

4-25 

.22 

5-io 

.26 

5-95 

•30 

s^  

3-50 

.18 

3-94 

.20 

4.38 

.22 

5-25 

.27 

6.13 

•31 

Q 

i  60 

.18 

4.  oc, 

.  21 

4.    CQ 

27 

c  40 

•  27 

6.30 

.  12 

9X  

3  •  ww 
3-70 

.19 

*T  '  ^J 
4.17 

.21 

T-  •  j^ 
4-63 

•     3 

.24 

j  •  "rw 

5-55 

.28 

6.48 

•  o 

-33 

9X  

3.80 

-19 

4.28 

.22 

4-75 

.24 

5-7o 

•29 

6.65 

•34 

9^  

3-90 

.20 

4  39 

.22 

4.88 

•25 

5.85 

•30 

6  83 

•35 

IO  

4.OO 

.20 

4-50 

•23 

5.00 

•25 

6.00 

•30 

7.00 

•35 

ID*/  .  . 

4.  10 

.21 

4.62 

•  24 

^  n 

.26 

6.15 

.31 

7.18 

.36 

IO1/   . 

4.    2O 

.  21 

4.  71 

24. 

j  •  j 

c    2Z 

27 

6  30 

12 

7-35 

-27 

*^/2    *  ' 

">#  

T.  •  *"v 
4.30 

.22 

T^  •   /  O 

4^4 

-  **r 

•25 

j  •    j 

5-37 

•  */ 
.27 

W    .    JV 

6.45 

•  O 

•33 

7-53 

•  J  1 
.38 

II  

4.40 

22 

4-95 

25 

5-50 

28 

6.60 

33 

7.70 

•39 

»x  

4-50 

•23 

5-07 

.26 

5.63 

.29 

6.75 

•34 

7.88 

.40 

II,'4  

4.60 

•23 

5-l8 

.26 

5-75 

.29 

6.90 

•35 

8.05 

.41 

II#  

4  70 

.24 

5-29 

.27 

5.88 

•30 

7-05 

.36 

8.23 

.42 

12   

4.80 

.24 

5-40 

•27 

6.00 

•30 

7.20 

-36 

8.40 

42 

I2#   

4.90 

•25 

5-5i 

.28 

6.13 

•31 

7-35 

•37 

8.58 

•  43 

12^   

5.00 

•25 

5.63 

.29 

6.25' 

•32 

7-50 

•38 

8.75 

•44 

12^   

5.10 

.26 

5-74 

•29 

7.38 

•32 

7,65 

•  39 

8-93 

•  45 

148 


THE    PRACTICAL    PRINTER. 


TABLE  VIII. 
Weight,  40  to  70  Ibs.     Price,  130.  to  2Oc.  per  Ib. 


Weight    - 

40  Ib. 

45  Ib. 

50  Ib. 

60  Ib. 

70  Ib. 

Price  per  Ib. 

Ream 

Qr. 

Ream 

Qr- 

Ream 

Qr. 

Ream 

Qr. 

Ream 

Qr. 

13C  

$5.20 

.26 

£5.85 

•30 

$6.50 

•33 

$7-8o 

•39 

$9-10 

-46 

'3X  

5-30 

.27 

5-97 

•30 

6.62 

•  34 

7-95 

.40 

9.28 

•47 

iil4 

c  .40 

•  27 

6.08 

.31 

6.75 

.  "34 

8.  10 

•41 

0  4^ 

.48 

'3^  

j  •  *r* 
5.50 

.28 

6.19 

•31 

6.88 

•  OT^ 

•35 

8.25 

•42 

y  •  *r  j 
9-63 

.49 

14      

5.60 

.28 

6.30 

.32 

7.00 

•  35 

8.40 

.42 

9.8o 

•49 

14.  i/ 

5-7° 

•  29 

6.42 

•33 

7-  13 

?6 

8.55 

•43 

9.98 

CQ 

14^    .. 

5.80 

29 

6-53 

•33 

7.25 

»°  O 

•37 

•  j  j 
8.70 

•44 

10.15 

•  j 
.51 

I4#  

5-90 

•30 

6.64 

•34 

7.38 

•37 

8.85 

•45 

iQ-33 

•52 

15  

6.00 

•3° 

6.75 

•34 

7.50 

•38 

9.00 

•45 

10.50 

•53 

i5#  

6.  10 

•  31 

6.87 

•35 

7.63 

•  39 

9-15 

.46 

10.68 

•54 

i5#  

6.20 

•3i 

6.98 

•35 

7-75 

•  39 

9-30 

•47 

10.85 

•55 

i5#  

6.30 

,32 

7.09 

•36 

7.88 

.40 

9-45 

•48 

ii  .03 

•56 

16  

6.40 

•32 

7.20 

•  36 

8.00 

.40 

9.60 

.48 

ii  .20 

•  56 

i6X  

6.50 

•33 

7-32 

•  37 

8.13 

•  41 

9-75 

•49 

11.38 

•57 

i6#  

6.60 

•33 

7-43 

•38 

8.25 

•  42 

9-90 

•5° 

ii-55 

•  58 

'6#  

6.70 

•34 

7-54 

.38 

8.38 

.42 

10.05 

5i 

11-73 

•59 

17    .... 

6.80 

•34 

7.65 

•39 

8.50 

•43 

IO.2O 

.51 

n  .90 

.60 

1754; 

6  90 

•35 

7.77 

•39 

8.63 

,44 

10.35 

.52 

12.08 

.61 

i7#  

7  .00 

•35 

7.88 

.40 

8-75 

•  44 

IO.5O 

•53 

12.25 

.62 

'7#  

7.10 

•36 

7-99 

.40 

800 
.  oo 

•45 

10.65 

•54 

12.43 

•63 

18  

7.20 

.36 

8.10 

•  41 

9.00 

•45 

10.80 

•54 

12.60 

-63 

i8X  

7-30 

•37 

8.22 

•  42 

9.13 

.46 

10-95 

•55 

12.78 

•64 

i8#  ..... 

7.40 

•  37 

8-33 

.42 

9.25 

•47 

1  1.  10 

•56 

12.95 

-65 

i8#  

7-50 

.38 

8.44 

•43 

9.38 

•  47 

11.25 

•57 

13-13 

.66 

19  

7.60 

•38 

8-55 

•43 

9-5° 

.48 

11.40 

•57 

13-30 

-67 

I9X  

7.70 

•39 

8.67 

•  44 

9-63 

•49 

11.55 

•58 

13-48 

.68 

'9#  

7.80 

•39 

8.78 

•  44 

9-75 

•49 

11.70 

•50 

13-65 

.69 

20  

8.00 

.40 

9.00 

•45 

10.00 

•  50 

12.00 

.60 

14.00 

.70 

BUSINESS    MANAGEMENT.  149 

ORDER   BOOK   AND   JOB   TICKETS. 

In  order  to  keep  track  of  the  cost  of  work  through- 
out its  several  processes  there  have  been  various  systems 
adopted,  with  more  or  less  success,  and  it  is  difficult  to 
say  which  of  those  systems  is  entitled  to  be  considered 
best.  But  the  following  has  borne  the  test  of  many 
years'  practice,  and  is  recommended  as  being  reliable  and 
practicable  : 

Have  a  book  in  which  jobs  can  be  entered  and  num- 
bered consecutively,  as  they  are  received.  Let  this  book 
be  ruled  in  columns,  so  as  to  provide  for  entering  all  the 
particulars  of  name,  address,  quantity,  description,  etc., 
on  the  left-hand  page,  and  on  the  right-hand  page  ruled 
so  as  to  provide  for  the  entry  of  the  various  items  of  cost, 
such  as  composition,  presswork,  stock,  cutting,  padding, 
ruling,  numbering,  perforating,  folding,  sewing,  binding, 
etc.,  with  a  column  for  total  cost,  and  one  for  the  price 
charged  to  customer. 

Then  have  a  small  blank,  called  a  "  job  ticket,"  printed 
so  as  to  provide  spaces  for  all  of  the  above  particulars,  on 
which  the  person  putting  the  job  in  hand  will  enter  all 
particulars  and  instructions  to  correspond  with  the  entry 
in  the  order  book,  and  those  who  are  engaged  on  the  job 
must  enter  the  time  occupied.  Let  each  person  also  have 
a  "  daily  time  slip,"  on  which  to  enter  against  the  job 
number  the  same  time  which  they  enter  on  the  job  ticket, 
the  total  of  these  entries  being  the  time  they  have  worked 
during  the  day.  There  will  be  times  when  a  man  is 
engaged  on  general  distribution  or  other  work  in  other 
departments,  which  cannot  well  be  charged  to  any  job 
number,  in  which  case  he  will  enter  the  time  on  his  daily 
slip,  and  not  on  the  job  ticket,  such  work  being  taken  into 


150  THE     PRACTICAL    PRINTER. 

account,  as  will  be  explained  shortly.  No  job  should  be 
allowed  to  be  put  in  hand  without  a  job  ticket  being  made 
out,  and  such  ticket  must  accompany  the  job  from  start 
to  finish. 

The  following  reduced  fac  similes  will  illustrate  the 
system. 

To  arrive  at  the  cost  of  the  time  thus  charged  on  the 
job  ticket,  it  is  necessary  to  take  other  things  into  account 
besides  the  wages  paid.  A  good  plan  is  to  fix  a  certain 
rate  per  hour.  Take  the  composing  room,  for  example. 
Find  the  total  amount  paid  in  the  room  (including  fore- 
man, proofreader,  etc.)  ;  then  by  dividing  that  amount  by 
the  aggregate  number  of  hours  worked,  you  have  the  cost 
per  hour.  But  that  would  not  represent  the  full  cost  of 
composition.  Experience  shows  that  at  least  one-half 
more  must  be  added  in  order  to  cover  distribution  and 
other  necessary  expenses,  so  that  if  the  cost  shown  was 
20  cents  you  will  have  to  reckon  30  cents.  The  press- 
room can  be  figured  in  the  same  way,  for  although  there 
is  no  distribution  to  be  allowed  for,  there  is  power  to 
think  of,  and  there  are  times  when  presses  are  standing 
idle  and  other  such  like  matters  to  be  provided  for.  And 
so  for  bindery  and  other  rooms. 

After  a  job  is  finished,  the  time  on  the  ticket  is  to  be 
figured  at  the  rates  per  hour  which  have  been  decided 
upon.  Should  the  composition  rate  be  35  cents,  and  the 
time  charged  be  2  ^  hours,  then  the  cost  of  composition 
would  be  called  90  cents.  The  time  on  the  other  parts  of 
the  work  being  figured  in  the  same  way. 

After  the  various  items  of  cost  have  been  figured  out 
on  the  job  ticket  they  will  be  entered  in  the  order  book 
against  their  proper  numbers,  as  shown  on  the  fac  simile 
sheet.  Of  course,  the  difference  between  the  "  total 


BUSINESS    MANAGEMENT. 


151 


..188^ 


THIS  TICKET  arST  ACCOMPANY  JOB  TimorCHOtTV 

Job  No.* 
Name.....: 
Quantity. — 
Pescription.. 


Stock 

Cost  of  Stock_y£L£Z2 Color  of  Ink.....*£ 

Proof  Wanted <L 

Bound  in A/.. ...books. P_ads» 

Ruied... {^r*f....Numbered../^<<*^..  Perforated  .. 


BE  CAREFUL  TO 

CHARGE  ALL  TIME 

OCCUPIED. 


1     •••  •  jj|f|  ••         I 

I  B«|  9am 
1        •      IIVlE^! 


"^TT 


Tak«  Proof  of  Job  on  Back  of  Ticket  before  Lifting. 


152 


THE    PRACTICAL    PRINTER. 


DAILY  TIME  slR 


JOB  NO. 


cost,"  and  the  "  billed  at  "  columns,  will  only  show  the 
gross  profit.     Then  will  come  rent,  gas,  office  expenses, 

etc.,  before  the  net 
profit  is  arrived  at. 

Those  who  have 
used  this  system  have 
found  that  it  took 
them  a  very  little 
time  to  get  used  to 
it,  and  they  would 
not  give  it  upon  any 
account. 

But  do  not  at- 
tempt to  carry  on 
business  without  a 
system  of  some  kind 
that  will  furnish  you 
with  the  particulars 
enumerated  here ;  for 
without  such  infor- 
mation you  will  be 

Time  entered  on  xnla  Slfp  must  correspond  with  time  .     -       . 

on  job  TicKet.  groping  in  the  dark 

and   find    when  it    is   too   late   that   your  business   is  a 
failure. 


nut* 


PROOF    READING,  153 


PROOF    READING. 


NO  part  of  the  work  of  printing  is  of  more  import- 
ance nor  requires  more  care  than  that  of  proof 
reading.  The  type  may  have  the  newest  and  hand- 
somest face,  the  paper  may  be  the  best  that  can  be 
made,  the  presswork  may  be  unsurpassable  and  the 
binding  the  most  elegant,  and  yet  if  the  proof  reading 
has  been  carelessly  done  the  whole  of  the  work  may  be 
disfigured  and  spoiled.  Not  only  will  there  be  inaccu- 
racies as  regards  spelling,  punctuation  or  grammar,  but 
also  a  lack  of  uniformity  in  style  throughout. 

There  are  some  points  upon  which  there  may  be 
diversities  of  opinions,  but  whatever  style  is  adopted 
at  the  commencement  of  any  work  should  be  followed 
closely  to  the  end.  Capitalization,  spelling,  punctua- 
tion and  spacing  are  each  open  to  some  difference  of 
opinion,  but  there  should  be  no  two  opinions  followed 
in  any  one  piece  of  work. 

Very  few  authors  are  aware  to  what  an  extent  they 
are  indebted  to  proof  readers  for  uniformity  of  style, 
and  those  who  are  most  indebted  are  the  least  likely  to 
appreciate  it.  Copy  is  very  often  prepared  in  the  most 
careless  manner,  and  compositors  and  proof  readers 
have  to  spend  much  valuable  time  in  putting  it  into 
proper  shape,  although  perhaps  the  author  may  never 
know  that  anything  has  been  done  to  it.  But  only  let 
a  proof  reader  allow  a  trifling  error  to  pass  and  that 


154  THE    PRACTICAL    PRINTER. 

same  author  will  come  down  upon  him  like  a  mighty 
avalanche ! 

Proof  reading  is  by  no  means  as  easy  a  matter  as 
some  persons  would  seem  to  suppose.  To  be  qualified 
for  this  work  a  man  must  have  a  very  large  amount  of 
general  knowledge,  must  be  a  good  scholar,  must  have 
a  powerful  memory,  must  be  acquainted  with  the  prac- 
tical part  of  the  printing  business,  and  must  have  an 
eye  quick  to  detect  errors.  Besides  this  he  should  be 
somewhat  familiar  with  several  languages  besides  his 
own  and  have  an  acquaintance  with  the  geography  of 
the  whole  world. 

Very  often  he  is  called  upon  to  read  scientific  and 
classical  works,  in  which  he  will  meet  with  a  variety  of 
abstruse  subjects,  with  all  of  which  he  is  expected  to 
be  more  or  less  acquainted.  Medical,  mathematical, 
philosophical  and  botanical  works  often  form  part  of 
that  which  he  has  to  read  and  revise  and  prepare  for 
the  public  eye.  And  generally  speaking  the  authors 
who  deal  with  these  more  difficult  subjects  have  the 
worst  kind  of  handwriting  and  bestow  least  pains  upon 
trying  to  make  what  they  write  intelligible  to  the  poor 
compositor.  The  consequence  is  that  the  proof  reader 
has  to  be  consulted  again  and  again  and  must  make 
"  sense  "  somehow. 

Therefore  it  will  be  easily  seen  that  a  proof  reader's 
duties  are  by  no  means  light,  and  the  man  who  ably 
fills  such  a  position  has  an  amount  of  hard  work  and 
mental  worry  which  no  one  else  in  the  business  has  to 
endure.  And  yet  there  must  be  proof  readers  and 
someone  must  be  found  who  is  able  and  willing  to 
cope  with  these  difficulties. 


PROOF    READING.  155 

Unfortunately,  it  happens  that  some  of  those  who 
are  engaged  in  this  work  take  so  little  pains  to  do  that 
work  properly  or  to  qualify  themselves  for  reading  in 
the  higher  branches  of  literature  that  discredit  is  thus 
brought  upon  the  body  generally,  and  the  work  done  is 
not  appreciated  as  it  should  be.  Those  who  desire  to 
become  good  proof  readers  must  be  prepared  to  under? 
go  a  large  amount  of  mental  preparation  and  to  give 
themselves  up  to  hard  work. 

A  few  suggestions  may  be  given  here  which  will  be 
likely  to  benefit  those  who  are  desirous  of  entering  on 
this  kind  of  work: 

1.  Before  starting  to  read  a  proof  find  out  whether 
you  are  to  "  follow  copy"  in  regard  to  doubtful  spell- 
ing or  compound  words  and  whether  the   author    has 
given  general  instructions  on  other  points. 

2.  Ascertain  whether  you  are  to  adopt  any  particu- 
lar style  as  regards  capitals  or  punctuation. 

3.  Take   a   general    survey    of  the    copy    in    order 
to  find  out  whether  there  is  uniformity  in  the  author's 
styla ;   whether   he    spells    words    differently   in    some 
places  from  what  he  does  in  others  ;  whether  he  capi- 
talizes all   through   alike,    and   whether  he   underlines 
properly  and  uniformly  for  capitals,  small  capitals  or 
italics. 

4.  If  you  find  that  no  uniformity  of  style  has  been 
adopted,  and  that  you  are  to  use  your  own  judgment, 
then   write   down   carefully  such   leading  rules  as  will 
help  you  in  securing  uniformity  throughout. 

5.  When  the  proofs  are  laid  before  you,  treat  them 
to   the  same   examination.     Notice  whether  the  para- 
graphs are  all  indented  alike,   whether  the  spacing  is 


156  THE    PRACTICAL    PRINTER. 

uniform,    and   whether   such   instructions  as  may  have 
been  given  have  been  followed. 

6.  It  is  a  good  plan  to  let  the  copyholder  read  in  an 
even  tone,  one  word  at  a  time,  without  trying  to  give 
expression  to  the  sense  of  what  is  being  read,  and  then 
to  let  your  eyes  keep  just  a  little  ahead  of  his  reading, 
as  by  this  means  you   will   be  more   likely   to   detect 
errors  than  by  following  his  lead. 

7.  If  the  copyholder  be  a  fast  and  accurate  reader 
it  will   be  well  simply  to  compare  with  copy  and  look 
for  "outs,"  "doubles"  and  other  typographical  errors 
at  this   first  reading,  and  then  go  over   the  ground  a 
second  time  by  yourself  for  punctuation,  spacing  and 
the  other  finer  points. 

8.  When  revising  a  proof  which  has  been  corrected 
it  will  be  advisable  not  only  to  see  that  all  the  changes 
have  been  made,  but  to   see  that  no   alterations  have 
been  made  other  than  those  marked.      Where  the  cor- 
rections are  very  numerous  it  is  a  good  plan  to  have 
the  whole  re-read  by  the  copyholder. 

9.  When  the  matter  has  been  made  up  into  plages, 
it  will  be  necessary  to  look  carefully  after  such  points 
as  the  following: 

That  no  lines  have  become  transposed  in  making 

up; 

That  no  lines  have  been  left  out; 
That  the  bottom  line  of  each  page  reads  on  to 

the  top  line  of  the  next  page; 
That  no  page  commences  with  the  last  line  of  a 

paragraph;  and 
That  the  running  heads  and  folios  are  in  proper 

sequence. 


PROOF    READING.  157 

An  experienced  proof  reader  will  have  an  immense 
advantage  over  a  novice,  from  the  fact  that  when  he 
reads  a  proof  he  knows  what  he  is  looking  for  and 
what  he  may  expect  to  find.  Especially  is  this  so 
when  he  has  some  experience  as  a  compositor.  For, 
on  the  principle  of  the  old  adage,  <4  Set  a  rogue  to 
catch  a  rogue,"  he  knows  the  kind  of  errors  which  are 
most  likely  to  be  made  and  where  to  look  for  them. 

Wrong  letters,  turned  letters,  wrong  font  letters, 
doubles,  outs,  bad  spacing,  bad  spelling,  transposition  of 
letters  at  the  ends  of  lines — these  and  many  other  such 
irregularities  he  is  constantly  looking  out  for,  and, 
like  a  detective,  he  acquires  the  power  of  quickly 
recognizing  his  objects. 

Failure  to  detect  an  error  and  then  to  have  that 
error  found  by  someone  else  is,  to  a  conscientious 
proof  reader,  not  only  annoying  but  humiliating.  I 
can  well  remember  some  painful  experiences  of  this 
sort  myself,  and  the  mortification  and  chagrin  are 
more  easily  written  about  than  they  were  endured. 
But  every  proof  reader  has  to  pass  through  this  ordeal 
at  some  time  or  other,  and  it  is  comforting  to  remem- 
ber that  others  have  had  the  same  experience  and 
afterwards  made  a  success.  In  spite  of  the  greatest 
precaution  and  most  careful  examination,  mistakes 
will  find  their  Way  into  the  best  of  works: 

We  are  told  that  Aldus,  in  order  to  eliminate  all 
errors  from  his  edition  of  Plato,  offered  a  gold  coin 
for  every  mistake  that  could  be  discovered.  Also, 
that  publishers  in  his  day  used  to  publicly  expose  the 
proof  sheets  of  their  works  and  offer  rewards  to  those 
who  would  point  out  errors.  "  And  yet  such  unlucky 


158  THE  PRACTICAL  PRINTER. 

mistakes  often  crept  into  their  works  that  they  de- 
clared that  either  the  devil  presided  over  typography 
or  there  was  diabolic  malice  on  the  part  of  the  com- 
positors." 

The  subject  of  proof  reading  covers  a  very  wide 
range.  Books,  magazines,  newspapers  and  job  work 
each  furnish  a  large  field  for  the  exercise  of  the  natural 
talents,  and  yet  each  call  for  distinctive  treatment. 
As  a  rule,  more  time  is  given  to  the  reading  of  proofs 
for  book  work  than  for  any  other  kind.  Generally 
there  is  no  hurry,  while  accuracy  is  of  greater  account 
than  speed.  Therefore  the  reader  can  devote  all  his 
thought  and  attention  to  that  one  point  of  supreme 
importance — accuracy.  Not  a  word  should  be  spelt 
wrongly;  not  a  punctuation  mark  should  be  misplaced  ; 
not  a  capital  should  be  misused  or  omitted;  not  a  space 
should  be  out  of  uniformity;  not  a  wrong  font  or  turned 
or  broken  letter  should  appear  ;  but  everything  should  ' 
be — accurate. 

Magazine  work  comes  next  in  this  order,  and  while 
it  naturally  calls  for  accuracy  it  often  calls  for  expedi- 
tion. Therefore  the  reader  has  these  two  special 
features  to  bear  in  mind.  To  be  accurate  as  well  as 
to  be  quick  is  a  qualification  which  requires  a  good 
deal  of  nerve,  in  addition  to  knowledge  and  practice. 
But  if  there  should  be  so  much  hurry  as  that  some- 
thing must  be  slighted,  do  not  let  it  be  the  uniformity, 
for  as  the  articles  will  be  written  by  different  indi- 
viduals, there  will  be  more  danger  of  failure  in  this 
respect  than  in  any  other. 

For  newspaper  work  there  must  be  speed.  Some 
other  points  may  have  to  give  way  to  this  and  even 


PROOF    READING.  159 

accuracy  may  be  sacrificed  on  the  altar  of  necessity, 
but  at  all  cost  latest  news  must  be  received  and  the 
forms  must  be  on  time.  A  press  which  runs  tens  of 
thousands  an  hour  cannot  be  kept  waiting  because  the 
compositor  has  misspelt  the  word  "diabetes"  or  made 
Shakespeare  the  "Bard  of  Avos." 

Job  work  calls  for  both  accuracy  and  speed,  and 
is,  perhaps,  the  hardest  kind  of  work  to  read.  Here, 
more  than  anywhere  else,  the  proof  reader  will  find 
the  advantage  of  having  a  knowledge  of  the  composi- 
tor's work.  .  To  know  something  of  the  different 
names  and  sizes  of  types,  to  be  familiar  with  the 
faces  of  special  kinds  used  in  display  work,  and  to 
have  some  amount  of  taste  for  judging  the  artistic 
merits  of  such  work  will  be  found  immensely  help- 
ful. But  job  work  embraces  such  a  great  variety  of 
matter  and  changes  so  often  that  a  proof  reader  needs 
to  be  able  to  turn  from  one  job  to  another  and  be  just 
as  much  at  home  on  one  as  on  the  other.  Figure 
work  requires  accuracy  in  its  fullest  sense,  and  yet 
often  has  to  be  done  with  as  much  speed  as  is  ever 
called  for  on  newspaper  work. 

In  every  kind  of  work  the  copy  should  always  be 
read  by  the  copyholder  and  on  no  account  should 
the  proof  reader  read  the  proof  aloud  while  the  copy- 
holder simply  holds  the  copy  and  compares  with  what 
is  being  read.  It  would  almost  seem  superfluous  to 
mention  such  a  matter  as  this,  but  among  job  print- 
ers there  is  a  good  deal  of  this  kind  of  proof  reading, 
and  many  mistakes  and  much  spoiled  paper  result. 

Large  posters  and  show  bills  can  be  read  in  the 
type  before  being  locked  up,  as  the  type  is  large  and 


160  THE    PRACTICAL    PRINTER. 

the  locking  of  such  forms  is  quite  an  item.  In  this 
large  work  the  rules  of  punctuation  need  not  be  so 
rigidly  enforced.  Where  a  large  line  of  wood  letter 
just  fits  the  measure  a  point  may  be  dispensed  with,  or 
where  it  falls  short  and  an  exclamation  point  would 
be  in  keeping,  then  two  or  even  three  of  these  may  be 
used  to  fill  out  the  line. 

Divisions  of  words  in  job  work  ought  not  to  be 
allowed.  Not  only  do  divisions  look  bad  in  displayed 
lines,  but  also  in  the  solid  matter  of  circulars.  "  Wide 
spacing  and  no  divisions  in  job  work  "  used  to  be  a 
part  of  the  printed  instructions  in  one  of  the  largest 
and  best  printing  establishments.  And  it  is  a  very 
good  rule  to  follow. 

Proof  readers  will  do  well  to  be  very  careful  about 
making  changes  in  displayed  work  other  than  actual 
errors.  If  it  should  appear  to  them  that  a  line  would 
look  better  if  set  in  some  other  type,  or  that  some 
different  arrangement  of  the  lines  should  be  made,  it 
will  be  better  to  make  the  suggestion  before  marking 
the  change  on  the  proof.  The  compositor  may  have 
some  reason  for  doing  as  he  has  done  of  which  the 
reader  might  be  totally  ignorant. 

It  is  important  in  reading  displayed  work  to  see 
that  all  of  the  short  lines,  brass  rules  and  dashes  are 
in  the  centre  ;  also  to  see  that  all  reprint  jobs  are 
spaced  out  according  to  copy,  particularly  in  blanks 
and  other  jobs  where  spaces  are  left  for  writing. 

Another  important  point  is  to  see  that  the  form 
is  locked  up  straight  ;  that  it  does  not  hang  down 
on  one  or  both  corners  ;  that  no  pieced  leads  have 
become  crossed  in  the  centre  ;  that  the  form  is  not 


PROOF    READING.  161 

crooked  on  account  of  a  piece  of  the  furniture  being 
too  long,  thus  causing  it  to  bind,  and  that  from  no 
other  cause  the  form  is  thrown  out  of  square  or  is  in 
an  unfit  condition  to  be  put  on  the  press. 

Where  jobs  are  printed  in  two  or  more  colors  it  is 
important  to  see  that  the  spacing  between  the  lines 
is  perfectly  accurate,  as  it  will  be  too  late  to  find  this 
out  when  the  first  form  is  finished  and  the  second  is 
being  printed  into  the  spaces  left.  It  is  best  to  have 
a  proof  of  the  whole  page  taken  on  dry  paper 
before  it  is  dissected  for  colors,  and  then  to  measure 
each  form  by  such  proof. 

Picking  and  turning  for  sorts  in  job  work  is  a  con- 
stant source  of  trouble  to  the  reader,  as  after  he  has 
carefully  read  and  corrected  all  of  the  errors  in  a  proof 
some  delay  may  arise  before  the  job  is  printed,  and  in 
the  meantime  letters  are  taken  out  and  perhaps  not  put 
back  carefully.  Therefore  when  the  job  is  actually  on 
the  press  it  is  advisable  to  read  every  displayed  line 
again  with  this  fact  in  view. 

And  yet,  even  then,  the  last  danger  is  not  passed. 
A  letter  may  draw  out  and  break  while  the  press  is  run- 
ning, and  the  person  who  puts  in  another  letter  may  put 
in  a  wrong  one.  But  this  should  not  be  allowed. 
There  ought  to  be  a  rule  that  whenever  letters  draw 
out  or  matter  is  pied  the  reader  should  be  told  of  it  so 
that  he  may  revise  the  changes  made. 

In  the  case  of  a  very  long  run  from  one  form  plates 
are  mostly  used,  but  where  such  work  is  done  from 
movable  types  the  reader  should  take  a  sheet  every 
now  and  then  and  carefully  examine  it  to  see  whether 
any  letters  have  been  pulled  out  or  broken  off. 


102  THE    PRACTICAL    PRINTER. 

It  has  become  customary  in  some  establishments  to 
let  a  proof  reader  read  over  copy  before  it  is  given  to 
the  compositors.  He  marks  the  punctuation,  makes 
the  spelling  and  capitalization  uniform,  and  in  other 
ways  seeks  to  lessen  the  number  of  changes  that 
would  have  to  be  made  in  the  proof.  This  is  a  good 
plan,  and  while  at  first  sight  it  might  appear  that  the 
compositor  was  the  only  one  benefited,  yet  in  reality 
the  reader's  time  in  doing  this  first  work  is  more  than 
paid  for  by  the  reduction  in  the  amount  of  his  work 
afterward. 

It  is  the  rule  in  most  large  houses  where  they  print 
books  of  reference,  public  documents  and  other  works 
which  require  the  very  greatest  care,  to  have  the  proofs 
pass  through  the  hands  of  two  or  more  different  read- 
ers. Sometimes  each  reader  will  read  by  copy  and  go 
over  the  same  proof,  making  their  additional  marks 
alongside  of  those  already  there.  And  then  the  proof 
may  be  revised  by  still  another  reader. 

Press  proof  reading  on  book  and  magazine  work 
should  be  done  by  a  special  reader.  Here  it  is  not  so 
much  a  question  of  followng  copy  or  punctuation  or 
capitalization  as  a  general  scrutiny  of  the  whole  to  find 
whether  anything  may  have  happened  to  the  matter 
since  it  was  made  up  and  imposed  ;  also  to  see  that 
each  sheet  follows  on  from  the  end  of  the  previous  one 
and  to  give  a  final  glance  over/the  whole,  in  view  of 
the  fact  that  this  is  the  last  examination  the  work  will 
get  before  it  is  too  late  to  make. changes.  The  man 
who  fills  this  pest  will  find  that  he  holds  a  responsible 
and  important  position. 

A  proof  reader  should  be  very  careful  not  to  make 


PROOF    READING.  163 

unnecessary  marks.  He  should  never  make  a  change 
which  he  can  avoid.  Some  readers  are  apt  to  think 
that  they  please  their  employers  and  display  their 
ability  by  making  a  proof  look  as  dirty  as  possible. 
What  they  are  expected  to  do  is  to  mark  all  ERRORS, 
and  if  they  do  more  than  this  they  waste  their  employ- 
er's time  and  provoke  the  bad  feeling  of  the 
compositors. 

Sometimes  a  reader  may  get  out  of  patience  with  a 
compositor  because  he  has  made  more  mistakes  than 
he  thinks  ought  to  be  made,  and  will  for  that  very 
reason  try  and  make  the  proof  look  as  black  as  possi- 
ble, thus  provoking  the  compositor  to  wrath.  But  if  he 
were  to  go  to  the  case  and  try  his  hand  on  setting  up 
the  same  work  he  might  modify  his  idea. 

On  the  other  hand,  compositors  often  accuse  read- 
ers of  spiteful  motives  and  actions  where  they  do  not 
exist,  and  while  they  sometimes  think  they  would  like 
to  change  places  with  the  readers,  they  would  find,  if 
they  really  did  so,  that  a  reader's  position  is  anything 
but  a  bed  of  roses. 

The  fact  is  that,  instead  of  either  of  them  having 
cause  to  find  fault  with  the  other,  the  trouble  of  both 
principally  comes  from  their  common  enemy,  the 
author.  If  every  writer  for  the  press  would  write  in  a 
plain,  readable  style  the  compositor  would  make  fewer 
mistakes,  the  reader  would  have  less  to  do,  and  all 
parties  concerned  would  be  better  off.  But,  alas,  the 
prospect  of  any  such  blissful  state  of  things  appears  to 
be  afar  off.  This  has  always  been  the  trouble 
with  the  writing  of  most  authors,  and  is  likely  to  be 
in  the  future,  although  the  introduction  of  type- 


164  THE    PRACTICAL    PRINTER. 

writing  machines  has  modified  the  evil  to  some  small 
extent. 

In  closing,  and  in  connection  with  the  foregoing,  it 
may  be  well  to  quote  the  following  lines  from  Johnson's 
"  Typographia,"  published  in  1824  : 

Ye  Author's  list !  we  must  a  tale  unfold, 

Which,  doubtless,  some  of  you  have  oft  been  told  ; 

You  little  dream  how  much  poor  Typo's  vex'd, 

When  with  bad  copy  his  mind's  sore  perplex'd  j 

Nor  is  this  all,  he  still  has  cause  to  dread 

The  Reader's  gall,  when  first  his  proof  is  read  ; 

Corrected  now,  to  you  'tis  straight  convey'd, 

And  in  a  trice  the  greatest  havoc's  made ; 

Methinks  we  see  you  every  page  survey, 

As  with  blunt  pen  the  world's  map  you  portray  ! 

The  numerous  marks,  on  its  margin's  plain, 

Appear  like  soldiers  in  the  battle  slain  ! 

The  proof's  returned  —  the  Chapel's  members  all 

Rush  to  the  stone,  obedient  to  his  call, 

To  view  this  carnage,  though  no  blood  appears, 

Yet  e'en  the  sight  awakes  their  manly  fears  ! 

Aloud  they  roar  —  enough  to  strike  him  dead, 

"  A  mob,  a  mob,  th'  riot  act  must  be  read  ! " 

His  grief  to  soothe  —  they  sympathizing  bawl, 

"  Patience  and  a  sharp  bodkin  cures  all." 

His  form,  with  heavy  heart  he  then  lays  up, 

And  letters  seeks,  which  fill  his  bitter  cup  ; 

How  often,  when  correcting  at  the  stone, 

He's  prayed  for  you,  while  breaking  his  breast  bone. 

Reflect,  when  next  you  wield  your  potent  quills, 

And  spare  the  printer  all  these  dreaded  ills  : 

Revise,  transcribe  and  make  your  copy  right, 

Thus  save  his  labor  and  his  precious  sight  ! 

For  this,  your  pardon  we  must  humbly  crave, 

And  of  this  subject  beg  to  take  our  leave. 


s 


PECIMENS   OF 

COMPOSITION 


BRASS   RULE   WOBK. 


SPECIMENS    OF    COMPOSITION. 


167 


168  THE    PRACTICAL    PRINTER. 


MANUFACTURERS    OF 


PRINTING  INKS 

FOR  ALL  THE  VARIOUS  SYSTEMS  OF  PRINTING. 

The  largest  and  best  appointed  Factories  in 
existence. 

The  largest  assortment  of  black  and  colored 
Printing  Inks  always  in  stock  and  furnished  at 
short  notice. 

Printing  Inks  made  to  order  exactly  fit  for 
any  press  on  any  kind  of  paper  or  other 
materiaj. 


Specimen  book  furnished  when  requested. 


JAENECKE-ULLMAN  COMPANY, 

536    AND    538    PEARL    STREET,    NEW    YORK. 
FACTORIES  AT  NEWARK,  N.  J. 


SPECIMENS    OF    COMPOSITION. 


.169 


170  THE    PRACTICAL     PRINTER. 

CHAS.   POTTER,  Prest.  J.   M.   TITSWORTH,  Treas. 

H.   W.   FISH,  Vice-Prest  D.   E.   TITSWORTH,  Secty. 


POTTER 

PRINTING  PRESS  CO, 

Web, 

Lithographic/ 


AND 


Cylinder  Presses. 

Potter   Building,   38    Park   Row, 
NEW  YORK. 


SPECIMENS    OF    COMPOSITION. 


171 


£S  Iieighton  3p os 


THE    PRACTICAL    PRINTER. 


WE    FURNISH 

anything  from  a  Hand  Cylinder  to  a  Rapid 
Rotary  Web  Perfecting  Press. 

For  Speed,  Simplicity  and  Durability  come 
to  us. 


Paper 
Folders 
also   our 
Specialty. 


Campbell  Printing  Press  Mfg.  Co., 


334  DEARBORN  STREET, 

CHICAGO, 


I  MADISON  AVENUE, 

NEW  YORK. 


SPECIMENS    OF    COMPOSITION. 


173 


LUSTRATED          ^ 
CATALOGS.      4* 


BOOK  AND 
JOB  WORK 


ttl 


112  AND  114  N.  ST.   PAUL  STREET, 


ROCHESTER,    N.  Y. 


RETURN  IF  NOT  CALLED  FOR  IN  5  DA 


MANUFACTURERS   OF 


Off!c^nd£actory,]gROCKPORT,  N.  Y. 


174  THE    PRACTICAL    PRINTER. 


ALBERT  NATHAN  &  CO., 


MANUFACTURERS    AND     IMPORTERS 


INCLUDING 

ALL  GRADES  OF  BLACK 


AND 


Every    Shade     of    Colored    Inks. 


VARNISHES 


AND 


BRONZE  POWDERS 


7-9-11    NEW   CHAMBERS   STREET,     KI  „  -j 
COR    WILLIAM    STREET.  1  1 C  YY 


176  THE    PRACTICAL    PRINTER. 

EMPIRE  TYPE-SETTING  MACHINE 

STRONG, 

"SIMPLE, 

SERVICEABLE. 

Adapted  to  Newspaper  and  the  finest  kind  of  Book  Work.  Un- 
like ALL  other  machines,  this  requires  no  machinist.  Not  liable  to 
get  out  of  order.  The  stereotypes  made  from  type  set  by  this 
machine  are  perfect.  There  is  no  breaking  of  type. 

Average  Capacity  of  Speed,  5,600  Ems  an  Hour. 

DISTRIBUTION  ENTIRELY  AUTOMATIC. 


This  is  without  doubt  the  Fastest  and  Most  Accurate  Machine  that 
has  ever  been  brought  before  the  craft.  We  invite  investigation  of 
this  statement.  For  further  particulars  apply  to 

Empire  Type-Setting  Machine  Co,, 

"Mail  and  Express"  Building, 

No.  203  Broadway,  New  York, 


This  is  the  Best  Machine  for  Book  Printers.    No  Gas.    No 
Loss  of  Metal.     No  Boy  to  Shave  Slugs. 


SPECIMENS    OF    COMPOSITION. 


177 


W.  H.  WRIGHT,  JR. 

PRINTER, 

293    WASHINGTON    ST.        BUFFALO,     N.    Y. 


RINTING  COMPANY,      / 

MINNEAPOLIS,  MINN. 


178 


THE    PRACTICAL    PRINTER. 


SPECIMENS    OF    COMPOSITION. 


179 


H 

2 


0 
0 


CHASSEUR 


M  .     K.     T 


180 


THE    PRACTICAL    PRINTER. 


•I1-LC-STEVENS- 

SUCCESSOR 


DESIGNERS    lj 

PHOTO-£NGRAYERS 


OF  THE  ?J\pOOCTJOJ^  OF 

ARTISTIC 
CATALOGUES.  PROORAHMES, 

CIRCULARS, 
DESCRIPTIVE  BOOKS  AND 


MERCANTILE 
AND  GENERAL 
PHOTOGRAPHY 


SPECIMENS    OF    COMPOSITION. 


181 


\      * 

"~1         °    ta 

•  i—  —  * 

-<—  >           ^     OQ 

0 

1J 
^     o 

CO 
O 
CX 

a  E 

UJ       O 

su 

Composi 

r  ROLLERS  IN  EITHE] 
WARRANTED  TO  SATI 
QUIREMENTS. 

LIC  ANNIHILATOR. 

^- 

CQ    ;—  i 

u   *>   pq        a* 

«  I 

w    CD  Q 

V-4                 '      P4      ^ 

^-*       H 
J—        CJ 

—  i  *"~j  < 

<1)     ^  °  § 

C3        < 

(L)      fa 
/^        i-^ 

W       Q      1 

»-~|      d  ^  p       H 

—  -      P 

U    ,y 

O^     •  ^       &, 
o    co    <;         T 

^      S 

'    '     ' 

/V^        fe    ^   X 

rrs 

W 

0^     Q  2  w     H 

T3 

E          «N 

S   H    H        J 

C 

^"^          «N 

3  a  QQ      H 

cd 

r  ^*s 

^    j~    O          :-i 

1 

*^            ^*  '"-flu  S       ^ 

(N 
rrs 

CO 

•^                   ^     ^ 
H-i:"O     M 

^"^"^^                  h^       r   >       HH                  ^J 

V.ZN 

*=--<         ^    U    H         J 

i_ 

1^^            CO     ^                      X- 

CD 

a> 

U'    .     H    O              H 
.    ^^ 

CL 


s 


182  THE    PRACTICAL    PRINTER. 


MANUFACTURERS     OF 

BLACK  AND  COLORED 

Printing  Inks 

For  Domestic  Use  and  Export. 
28  READE  STREET,  NEW  YORK. 


P.  O.  BOX    2042 


INKS    FOR    HALF-TONE    AND    ART    WORK 
A  SPECIALTY. 


SPECIMENS    OF    COMPOSITION.  183 

SECOND  EDITION.  PRICE  $3.00. 

BISHOP'S 

JOB  (DRDEFTBOOK 

:     :    AND     :     : 

RECORD  OF  COST. 

COPYRIGHTED    BY    H.   G.    BISHOP. 


Printed  and  ruled  so  as  to  afford  a  simple  plan  of  recording 

the  cost  of  every  job  done,  there  being  a  separate 

column  for  each  of  the  following  heads  : 

Date,  Stock, 

Job  Number.  Cutting, 

Name  Padding, 

Quantity,  Ruling, 

Description,  Numbering  and  Perforating, 

Proof  Wanted,  Folding  and  Sewing, 

Job  Wanted,  Binding, 

Color  of  Ink,  Other  Charges, 

Composition,  Total  Cost, 

Presswork.  Charge  to  Customer. 

These  items  of  cost  are  easily  arrived  at  by  the  use  of  a  "Job 
Ticket"  and  "  Daily  Time  Slip."  which  can  be  printed  by  any. 
one.  Each  book  contains  100  leaves,  10£  x  16,  half  bound,  and 
provides  room  for  entering  3,000  jobs.  Printers  who  have 
seen  this  book  pronounce  it  the  best  of  the  kind.  The  price  is 
less  than  half  what  it  would  cost  any  printer  to  make  a  single 
book. 


Can  be  obtained   from  H.  G.  BISHOP,  Oneoiita,  N.  T.,  and 
through  all  Type  Founders. 


184  THE    PRACTICAL    PRINTER. 

J.   P.    FELT.  A.   T.    FELT. 

JOS.  P.  FELT  8  CO., 

25  Rose  3treet,  New  York, 

ELECTROTYPERS. 


Blocking  on  Wood  or  Solid 
Metal  Bodies. 

Metal  Plates  for  Engravers 
Made  to  Order. 


Elevator,  to  receive  and  deliver  Forms,  always  running. 


SPECIMENS    OF    COMPOSITION.  185 


This  Firm  is  not  connected  in  any  way  with  the  AMERICAN   ' 
TYPE  FOUNDERS'  TRUST. 


The  Old  New  York  Type  Foundry. 

Established  1804, 


A.D.FARMER&SON 

(Late  FARMER,  LITTLE  &  Co.) 

TYPE  FOUNDING  CO., 

6$  &  6^  Beekman  Street,  Corner  Gold  Street, 
NEW    YORK. 

Orders  for  Type,  &c. ,  supplied  promptly  by  this  firm. 

We  carry  a  Large  Stock  of  our  Roman  and  Old 

Style  Faces,  Jobbing  Type,  Brass  Rule,  &c., 

from  which  entire  outfits  can  be  supplied 

quickly.       Every  Printing  Requisite 

sold    at    manufacturers'    prices. 


ESTIMATES   GIVEN  WHEN   REQUIRED. 


Foundry :    Beekman  &  Gold  Sts. 


186  THE    PRACTICAL    PRINTER. 

FaCtS  e  fetter"  Numbering 
Machine 

for  printers'  use. 

Locks  up  in  the  form  same 
as  a  slug  and  numbers  simul- 
taneously with  type  matter. 

It  is  very  small,  entirely 
automatic,  sitnple,  conven- 
ient and  as  durable  as  perfect  steel  and  perfect  workmanship  can 
combine  to  make  it. 

There  are  6,000  or  more  in  daily  use  and  every  one  of  them  pan- 
ning out  profit  for  the  printers  owning  them.  They  are  just  as  im- 
portant in  a  hustling  printery  as  composing  sticks. 

Composed  of  few  parts;  a  boy  can  take  it  apart  and  put  it  together 
with  ease. 

The  figure  wheels  will  not  clog  or  corrode. 
Colored  inks  won't  harm  it  in  the  least. 

If  you  are  in  dead  earnest  and  want  to  increase  the  volume  of  your 
business  our  catalogue  will  throw  out  many  valuable  hints  to  you. 
Ask  for  one. 

Joseph  Wetter  &  Go., 

20-22   Morton  Street, 

BROOKLYN,  N.  Y. 


SPECIMENS    OF    COMPOSITION.  187 

SPECIMENS 

OF 

JOB  WORK 

FOR     PRINTERS. 

BEING  SUGGESTIONS  FOR  SETTING  UP 

Business  Cards,  Letter  Heads, 
Bill  Heads,  Circulars 

And  all  kinds  of  DISPLAY  ADVERTISING. 


PRICE     TWO     DOLLARS. 


To   BE   OBTAINED    FROM    II.    G,    BISHOP,    ONEONTA,    N.    Y. 

AND     FROM     AI.I.     Tvi'K     FOUNDERS. 


188  THE    PRACTICAL    PRINTER. 

Headquarters  ifor 

LIBERTY  PRESSES. 


SOLE  AGENTS  FOR 

HOWARD  IRON  WORKS  PAPER  CUTTERS. 

Gem,  Victor  and  Diamond  Self-Clamp. 

EASTERN  AGENTS  FOR 

BARNHART   BROS.    &   SPINDLER'S  SUPERIOR 
COPPER-MIXED    TYPE, 

AND 

SEYBOLD  MACHINE   CO.'S  BOOKBINDING 
MACHINERY. 

MANHATTAN  TYPE   FOUNDRY, 

£2  6k  54  Frankfort  Street,  New  York. 


COMPLETE    OUTFITS    A    SPECIALTY. 


SPECIMENS    OF    COMPOSITION.  189 


SECOND  EDITION.  PRICE  50  CENTS. 


AS  HANDY  AS  A  WATCH  AND  QUITE  AS  USEFUL. 


DIAGRAMS    OF    IMPOSITION 


COPYRIGHTED    BY    H.    G.    BISHOP. 


PRINTED    ON    BOND    PAPER.  BOUND    IN    RED    LEATHER. 


SHOWING    ALL    THE    MOST    USEFUL    SCHEMES    FOR 

LAYING    DOWN    PAGES;    WITH    NOTES 

AND    EXPLANATIONS. 

FEW    SUBJECTS    ARE    SO    IMPORTANT    AND    YET    SO 
LITTLE    UNDERSTOOD   AS   THAT  OF  IMPOSITION. 


THIS     LITTLE    BOOK    GIVES    THE    WHOLE     SUBJECT 
IN    A    NUTSHELL. 


EVERY  COMPOSITOR   AND  PRESSMAN  SHOULD  HAVE 
IT    IN    HIS    POCKET    FOR    REFERENCE. 


190 


THE    PRACTICAL    PRINTER. 


EDW.  L.  MEGILL, 

THE  SPECIALIST    IN 

~    FEED    GAUGES    ~ 

For  Printing  Presses. 


.RIPPER  FINGER  SOc  M.  75c  e>  iJ  Mt 

INVENTS,  MANUFACTURES  AND  OFFERS  TO  THE  TRADE 

Gauges  for  Every  Purpose  of  the  Printer 

Comprehended  in  over  seventy  sizes  and  varieties,  and  secured  by  over  twenty 
patents.  Send  for  circular,  or  order  of  the  type  founder  or  dealer  in  printers' 
supplies. 

E.     L.    MEGILL,  Pioneer    Inventor    and     Manufacturer, 


iD-u.a,aa.e  Street, 


"STorlc- 


SPECIMENS    OF    COMPOSITION.  191 

THE    JOB    PRINTER'S 

LIST  OF  PRICES 


AND 


ESTIMATE    GUIDE: 


CONTAINING 


PRICES    TO    BE    CHARGED    FOR    ALL    KINDS    OF    JOB 
'   AND    BOOK   WORK,  FROM    A   SMALL    CARD 
TO    A    LARGE    VOLUME. 


By    H.    G.    BISHOP, 

AUTHOR    OF    "THE    PRACTICAL    PRINTER,"    "SPECIMENS    OF    JOB 
WORK,"    AND    OTHER    WORKS. 


PRICE     ONE     DOLLAR, 

THROUGH     ALL     TYPE     FOUNDERS. 


NEW    YORK : 
H.  G.  BISHOP,   128  DUANE  STREET. 

1893. 


192  THE    PRACTICAL    PRINTER. 

THE    PRINTER'S 

READY    RECKONER: 


CONTAINING 


MANY  USEFUL  TABLES, 


SHOWING    THE     COST    OF    STOCK    USED    ON    SMALL 

JOBS,    QUANTITY    OF    PAPER    TO    GIVE    OUT, 

COMPARATIVE      WEIGHTS     OF     PAPER, 

THE   RELATIVE  SIZES  OF  TYPE, 

AND    OTHER    USEFUL    INFORMATION    FOR    PRINTERS. 


By    H.    G.    BISHOP, 

AUTHOR    OF    "THE    PRACTICAL    PRINTER,"    "SPECIMENS   OF  JOB 
WORK,"   AND  OTHER  WORKS. 


PRICE      FIFTY     CENTS. 

THROUGH     ALL    TYPE     FOUNDERS. 


NEW   YORK: 
H.  G.  BISHOP,   128  DUANE  STREET. 

1893. 


SPECIMENS    OF    COMPOSITION. 


193 


INDEX. 


195 


INDEX 


Abbreviations 17 

A  B  C  of  the  business  must 

be  learned 2 

Accents 33 

Advantages  of  the  point 

system 27 

Algebraical  signs 34 

"A  little  learning  is  a  dan- 
gerous thing." 14 

Amateurs 22,  93 

Apostrophe 18 

Arrangement  of  types  for 

display  work 59 

Astronomical  signs 35 

Authors  might  feel 

ashamed  of  their  copy . .  13 

Authors'  peculiarities 10 

Bad  divisions 52 

Bad  manuscript 10 

Bad  spacing 51 

Bad  spelling,  compositors 

have  to  correct 13 

Bearers 110 

Bed  of  press  to  be  clean . .  99 

Benzine 120 

Body,  position  of  the 48 

Boxes,  learning  the 47 

Boys  who  cannot  read  nor 

spell 7 

Brackets 20 

Bursting  of  rollers. 114 

Business  management. ...  132 
Buy  ing  plant  and  materials  135 


Capitals,  the  use  of 20 

Cardboard,  cutting 123 

Carelessness  of  authors ...  12 

Care  of  inks 118 

Care  required  in  making 

overlays 108 

Cases,  learning  the  lay  of.  47 

Casting  off  table  matter. .  61 

Catalogues  and  circulars.  21 
Chapters  should  net  begin 

near  bottoms  of  pages . .  63 

Clean  proofs 53 

Colon 17 

Comma 16 

Commencing  table  work .  61 

Commercial  signs 33 

Composing  machine 53 

Composition 47 

Composition,  rate  per  hour 

for 156 

Compositors  blaming  read- 
ers    54 

Compositors  have  to  cor- 
rect bad  spelling 13 

Compositors  must  be  able 

to  read  bad  manuscript.  10 
Compositors  need  to  know 

more  than  setting  type .  3 

Compound  words 20 

Correcting 54 

Correcting  in  the    galley 

and  in  the  form 55 

Cost  of  printing  ink 138 


11)6 


THE    PRACTICAL    PRINTER. 


Cost  of  work,  keeping 

track  of 149 

Copyholders,  difficulty  in 

obtaining 7 

Cross  headings 63 

Cupboard  for  rollers 117 

Cuts,  underlaying 102 

Cutting  cardboard 123 

Cutting  rules  for  table 

work 62 

Cutting  stock 123 

Cylinder  presses,  making 

ready  on 99 

Daily  time  slip 149 

Depreciation 133 

Difficulties  the  learner 

should  fully  understand  8 

Dirty  proofs 54 

Display  work 59 

Distribution 48 

Diversity  of  opinion  re- 
garding punctuation ...  15 

Divisions  of  words 52 

Drawback  to  obtaining  a 

general    knowledge    of 

the  business 3 

Dropping  types 49 

Duplicate  set  of  rollers. . .  115 

Dust  in  ink 118 

Effects  of  temperature  on 

rollers 114 

Embossing  should  be 

avoided 112 

Em  dash 18 

Empty  cans  to  be  thrown 

aside 118 

Estimating 132 

Even  impression .  99 

Even  spacing 50 


Examples  of  punctuation .     16 

Exclamation  point IS 

False  movements  in  type 

setting 49 

Facsimile  of  bad  copy ...     11 

Feeders 94 

Few  boys  who  can  read 

and  spell 7 

Figuring  on  work 132 

Fine  cut  work     106 

First  be  accurate,  then  be 

quick 49 

Fitting  up  of  stock  room .   122 
Form      on      press      may 

"spring"   99 

Fractions 36 

Friars 117 

Full  count 121 

General  knowledge,  com- 
positors   need    a    large 

amount  of 8 

Good  ink  necessary 113 

Grammar,        compositors 

need  to  understand 13 

"Green "  rollers 116 

Gauge  for  making  up 63 

Gauging  form  on  press ...   101 
*'  Guessing  "  at  the  cost  of 

stock ,  . .  140 

Half -sheet  work 66 

Hard  packing 110 

Hard  rollers 115 

Headings 63 

Headings  for  tables 62 

How  to  correct  a  proof ...     54 

Hyphen 20 

Imperfect  plates,   how  to 

remedy 108 

Imposing  from  the  center    65 


INDEX. 


107 


Imposition 65 

Indentation 51 

Injury  to  type  by  using 

tweezers 55 

Inks,  care  of 118 

Inner  form  66 

' '  Insertions  " 55 

Instructions  to  pressmen .  91 

Interest  on  capital 133 

Interrogation  point 18 

Irregular  spacing  arises 

from  carelessness 52 

Job  presses,  making  ready 

on 110 

Jobticket 149 

Job  work 58 

Justification 49 

Keeping  track  of  cost  of 

work 149 

Kerosene  oil,  when  to  use  119 

Laying  down  pages 65 

Last  line  of  paragraph  not 

to  be   turned   over    to 

next  page 63 

Leaded  matter  51 

Learners  should  fully  un- 
derstand the  difficulties  8 
Learning  the  A  B  C  of  the 

business 2 

Learning  the  boxes 47 

Learning  to  read 9 

Learning  to  spell 8 

Lengths  and  widths  of 

pages 62 

Lines  should  be  same 

length 50 

List  of  punctuation  marks  16 

Locking  up 89 

Low  prices,  danger  of. ...  132 


Machine  for  composing. . .     53 
Making  ready  on  cylinder 

presses 99 

Making     ready    on    job 

presses 110 

Making  register 101 

Making  the  margin 88 

Making  up 62 

Management 132 

Managers  not  sufficiently 
acquainted  with  esti- 
mating    4 

Manuscript,  bad 10 

Measuring  off  matter. ....     63 

Medical  signs 35 

Movements,  false,  in  type 

setting 49 

Names  of  types 24 

Need  for  a  knowledge  of 
the  rudiments  of  the 

business 1 

Net  profit 133 

Oil  and  rags 119 

Oiling  presses  and  shafting  1 19 

Order  book 149 

Outer  form 66 

"  Outs,"  how  to  remedy. .     54 

Overlays 106 

Pages  all  to  be  one  length.     64 

Pages,  laying  down 65 

Paragraphs,  indention  of.     51 

Parentheses 19 

Patching  up 102 

Patching  up  must  not  be 

done  on  top  sheet 106 

Peculiarities  in     authors' 

copy 10 

Peculiar  sorts,  time  lost  in 
looking  for 37 


THE    PRACTICAL    PRINTER. 


Period 17 

Planing   down 90 

Plant  and  materials,  buy- 
ing    135 

Points,   and    how    to  use 

them 16 

Point  system 27 

Positions  of  odd  and  even 

pages 66 

Position  of  the  body 48 

Poster  work 60 

Practical   and  theoretical 

knowledge  necessary. ..  2 
Practiced  eye,  the  advan- 
tage of  having  a 12 

Preserving  overlays 113 

Pressmen  need  to  know 
something  of  composi- 
tion    3 

Presswork 91 

Press  work,  cost  per  hour 

for 150 

Principles  of  making  ready  94 

Printing  ink,  cost  of 138 

Proper  names 21 

Proofs,  clean 53 

Proprietors  not  sufficiently 
acquainted  with  estim- 
ating    4 

Proper  treatment  of  rollers  1 14 
Punctuation,  diversity  of 

opinion  regarding 15 

Quotations 16 

Quoins    to    be    gradually 

tightened 89 

Rate  per  hour  for  composi- 
tion   150 

Reading  and  spelling 7 

Read,  learning  to 9 


References  33 

Register,  making 101 

Regularity  of  color 99 

Rollers,  their  proper  treat- 
ment    114 

Rudiments  of  the  business, 

a  need  for  knowing  the .       1 
Rules,   cutting   for    table 

work 62 

Rules  for  making  up 63 

Running  heads 63 

Secret    of   locking   up    a 

form  properly 89 

Selecting  suitable  types. .     58 

Semicolon  . . .  . 17 

Set-off  caused  by  cutting.  123 
Setting  figures  in  long  lines    62 

Setting  guides 101 

Sheet  work 66 

Show  printing. . . '. 60 

Signs  thrown  into    spare 

boxes 37 

Signs  used  in  printing. . .     32 

Sizes  of  types 24 

Soiled  sheets 95 

Spacing 50 

Specimens  of  bad  copy. . .     11 

Spelling 7 

Spell,  learning  to 8 

Spontaneous  combustion.  120 
' '  Squable,"  how  to  remedy    55 
Stock    and   shipping    de- 
partments    121 

Stock  room,  fitting  up 122 

Superiors  and  inferiors ...     35 
Table  matter  that  will  not 

"lift" 61 

Table  work 60 

Technical  terms 39 


INDEX. 


191) 


Tendency  to  shirk  learning 

details 46 

Terras  used  in  composing 

room 39 

Terms  used  in  press  room  96 
The  advantage  of  having  a 

practiced  eye 12 

Theoretical  and  practical 

knowledge  necessary ...  2 

The  use  of  capitals 20 

Time  lost  in  looking  for 

peculiar  sorts 37 

Time  slip,  daily. 149 

Top  sheets  on  cylinders..  106 

Treatment  of  rollers 114 

Tweezers  injure  the  type.  55 

Tying  up  pages 64 

Types  off  their  feet 50 

Type  suitable  for  certain 

classes  of  work 58 

Types,  their  names  and 

sizes 24 


Types r  their  relative  pro- 
portions       26 

Typographical  signs 36 

Underlaying  cuts 102 

Uniform  spacing 51 

Unnecessary  divisions ....     52 
Upper  case,   learning   all 

the  boxes  in  the 48 

Varieties  of  words  in  the 

English  language 9 

Washing  rollers 115 

Words  pronounced    alike 

but  spelled  differently. .       9 
Words  spelled    alike   but 

pronounced  differently.       9 
Words  spelled    and    pro- 
nounced alike  but  having 

different  meanings 9 

Words,  varieties  of 9 

Work,   keeping  track    of 
cost  of  i4i 


